Image, imagination et cinématographie dans l’œuvre de Jacob von Uexküll
In the second half of the nineteenth century, photography widens the gap between scientific and artistic images. In the twentieth century, cinema change the situation: the nearly magical power of film experience questions the subjective/objective and art/science oppositions. This article examines th...
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| Format: | Article |
| Language: | fra |
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Centre d´Histoire et Théorie des Arts
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| Series: | Images Re-Vues |
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| Online Access: | https://journals.openedition.org/imagesrevues/9883 |
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| Summary: | In the second half of the nineteenth century, photography widens the gap between scientific and artistic images. In the twentieth century, cinema change the situation: the nearly magical power of film experience questions the subjective/objective and art/science oppositions. This article examines this change in relation with the work of Jakob von Uexküll. During the early years of the twentieth century, his use of chronophotography modifies his empirical approach and allows him to overcome beyond number of contradictions. From 1909 to 1934, his construction of the Umwelt concept is largely based on his experimental cinematography use. Comparing the animal perception with the cinematographic experience, Uexküll give to the concepts of image and imagination a crucial importance in this work. |
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| ISSN: | 1778-3801 |