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Enlarged Spectatorship
From Realism to Surrealism: Bazin, Barthes, and The (Digital) Sweet Hereafter
In âThe Myth of Total Cinemaâ (1946) film theorist AndrĂ© Bazin writes, âEvery new development added to the cinema must, paradoxically, take it nearer and nearer to its origins. In short, cinema has not yet been invented!â1 In âThe Third Meaningâ (1970) cultural semiotician Roland Barthes states, âForced to develop in a civilization of the signified, it is not surprising that (despite the incalculable number of films in the world) the filmic should still be rare ⊠so much so that it could be said that as yet the film does not exist.â2 Although Bazinâs âcinemaâ and Barthesâs âfilmicâ are not equivalent terms, the similarities between these declarations suggest the neglected trajectory in film theory this chapter seeks to trace: pursuing surrealismâs influence on Bazin and Barthes in order to illuminate how their shared commitment to the realism of the photographic image, so often misunderstood as a naively literalist stance, is much more accurately described as an investment in surrealism. In the chapterâs second half this revised take on Bazin and Barthes will be tested against our current desire to understand cinemaâs role in the digital age of new media. By examining The Sweet Hereafter as an intermediated text characterized by modes of spectatorship brought to the fore in the new media eraâthat is, as a text that exists for spectators between the media forms of Russell Banksâs 1991 source novel, Atom Egoyanâs 1997 film adaptation, and New Line Home Videoâs 1998 DVDâI will attempt to demonstrate how todayâs possibilities for intermediated spectatorship demand that we revisit yesterdayâs surrealist visions of âenlargedâ cinematic spectatorship.3
The notion of considering Bazin and Barthes together may seem a rather unpromising point of departure. After all, Bazinâs passionate devotion to cinema characterizes his work as clearly as Barthesâs ambivalent, self-described âresistance to filmâ (TM 66) marks his own. Although both men frequently ponder the nature of cinema by turning to related media forms for instructive comparisons, they tend to spin these comparisons (especially between photography and cinema) in very different directions. For example, in âDeath Every Afternoonâ (1949) Bazin asserts that âa photograph does not have the power of film; it can only represent someone dying or a corpse, not the elusive passage from one state to the other.â4 When Barthes begins his own meditation on the relays between photography, death, and mourning in Camera Lucida (1980), he admits, âI decided I liked Photography in opposition to the Cinema, from which I nonetheless failed to separate it.â5 Although Barthes does refer briefly to Bazin later in Camera Lucida (a reference to which I will return), the passing mention seems more puzzling than enlightening. As Colin MacCabe observes while comparing Camera Lucida with Bazinâs âThe Ontology of the Photographic Imageâ (1945), âOnce one has noticed the parallels between Bazinâs and Barthesâs theses, it becomes absolutely extraordinary that Barthes makes no mention of Bazin in his bibliography.â MacCabe concludes that Barthesâs exclusion of Bazin indicates just how âimmenseâ the differences that divide these two texts really are, however âstrikingâ their similarities may appear to be.6 But perhaps these similarities run even deeper than we imagined.
BAZIN, SARTRE, AND PHOTOGRAPHIC SURREALISM
Dudley Andrew has discovered persuasive evidence in Bazinâs unpublished notes for how âThe Ontology of the Photographic Imageâ was written in direct response to Jean-Paul Sartreâs Lâimaginaire (1940), the very same book to which Barthes dedicates Camera Lucida.7 Sartre, whose philosophy in 1940 was powerfully influenced by Edmund Husserlâs transcendental phenomenology without having fully developed the existentialism that would structure his later work, devotes painstaking attention in Lâimaginaire to distinguishing between perception and imagination. He describes perception as our sensual observation of an object in the world and imagination as our mental representation (or âquasi-observationâ)8 of such an object. For Sartre perception and imagination must not be confused as interrelated points on a continuum of consciousness; instead, they are fundamentally different forms of consciousness. Sartre maintains that âwe can never perceive a thought nor think a perception. They are radically distinct phenomena. ⊠In a word, the object of perception constantly overflows consciousness; the object of an image [or imagination] is never anything more than the consciousness one has of it; it is defined by that consciousness: one can never learn from an image what one does not know alreadyâ (TI 8, 10). This stark division between perception and imagination leads Sartre to claim that the photograph has no privileged relation to reality or to perception, that it suffers from the same âessential povertyâ (TI 9, 16) that afflicts all acts of imagination: the photograph can only reveal what the viewer has already brought to his or her encounter with it, so it cannot teach us anything we do not already know. As Sartre explains, âif that photo appears to me as the photo âof Pierre,â if, in some way, I see Pierre behind it, it is necessary that the piece of card is animated with some help from me, giving it a meaning it did not yet have. If I see Pierre in the photo, it is because I put him thereâ (TI 19, Sartreâs emphasis).
If Sartre provides the initial inspiration for both Bazin and Barthes in their work on the image, neither one ultimately agrees with Sartreâs account of the photograph. For Bazin, what makes the photograph (and cinema, as a photographic medium) so important is its ability to conjoin those aspects of perception and imagination that Sartre divides. If Sartreâs photograph excludes objective perception (or âobservationâ) in favor of subjective imagination (or âquasi-observationâ), then Bazinâs photograph unites imaginationâs subjectivity with perceptionâs objectivity. To quote the famous passage from âThe Ontology of the Photographic Imageâ:
The aesthetic qualities of photography are to be sought in its power to lay bare the realities. It is not for me to separate off, in the complex fabric of the objective world, here a reflection on a damp sidewalk, there the gesture of a child. Only the impassive lens, stripping its object of all those ways of seeing it, those piled-up preconceptions, that spiritual dust and grime with which my eyes have covered it, is able to present it in all its virginal purity to my attention and consequently to my love. By the power of photography, the natural image of a world that we neither know nor can know, nature at last does more than imitate art: she imitates the artist.9
Here Bazin ascribes to the photograph the very power that Sartre denies it: the power to reveal to the viewer something about the world that the viewer neither knows through imagination nor can know through perception. According to Bazin, the photograph captures, and allows us to glimpse, a reality that eludes both perception and imagination by uniting mechanical objectivity (which he describes as the âimpassiveâ perception belonging to the camera, not to the viewer) with affective subjectivity (which he describes as the âloveâ of the viewer responding to this reality newly revealed through photography).10 For Sartre, when one detects true âlifeâ or âexpressionâ in a photograph, it is due solely to the viewerâs input (TI 17). For Bazin the photographic experience that reveals the world anew is forged between the cameraâs contribution and the viewerâs contribution.
Bazinâs sense of the photographic experience as a union of perception and imagination, of mechanical objectivity and affective subjectivity, mirrors AndrĂ© Bretonâs vision of a surrealist union between dream and reality in certain important respects. As I mentioned in my introduction, Bretonâs âManifesto of Surrealismâ includes the following formulation: âI believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak.â11 Although Bretonâs surreality incorporates a number of explicitly political dimensions that Bazinâs photographic realism does not, both men aim to dissolve distinctions between objectivity and subjectivity, perception and imagination, nature and representation.12 Indeed, in âThe Ontology of the Photographic Imageâ Bazin turns to the case of surrealist photography to crystallize what he describes as photographyâs capacity to conjoin two different ambitions that have structured the history of Western painting: âpseudorealismâ and âtrue realism.â For Bazin âpseudorealismâ (OP 12) manifests itself as trompe lâoeil illusionismâa variety of visual deceptions that trick the eye into mistaking representation for reality. âPseudorealismâ is rooted in humanityâs psychological need to duplicate the natural world through representation or to âhave the last word in the argument with death by means of the form that enduresâ (OP 10), a psychological condition Bazin diagnoses as a âmummy complexâ (OP 9) or a âresemblance complexâ (OP 13). âTrue realismâ (OP 12), in contrast, is rooted in the aesthetic rather than the psychological, in âthe expression of spiritual reality wherein the symbol transcend[s] its modelâ (OP 11). In other words art that uncovers realityâs hidden essence counts as âtrue realismâ by elevating an aesthetic commitment to revealing essential reality above the psychological need for illusionismâs duplication of superficial reality.
The surrealist, according to Bazin, marries psychological âpseudorealismâ to aesthetic âtrue realismâ by erasing âthe logical distinction between what is imaginary and what is realâ (OP 15). The evidence for this marriage can be seen in âthe fact that surrealist painting combines tricks of visual deception [a hallmark of âpseudorealismâ] with meticulous attention to detail [a hallmark of âtrue realismâ]â (OP 16). Bazinâs very terms pseudorealism and true realism echo Sartreâs distinction between perceptionâs âobservationâ and imaginationâs âquasi-observation,â but surrealism gives Bazin the means to interweave what Sartre separatesâBazin outlines those aspects of âpseudorealismâ present in perception and âtrue realismâ in imagination. The result is that Bazinâs most complete formulation of realism in âThe Ontology of the Photographic Imageâ emerges as a version of surrealism, where the rational and irrational meet, while Sartreâs notion of reality is constituted by maintaining strict divisions between the levels of rational perception and âirrationalâ imagination.13
When Bazin claims that âa very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faithâ (OP 14), he revises Sartreâs account of the photograph in order to argue that photographic media possess a special ability to âbear away our faith,â to combine rational fact with irrational belief.14 We will recall Sartreâs insistence that âif I see Pierre in the photo, it is because I put him there.â But Bazin maintains, in effect, that âseeingâ Pierre in the fullness of reality is not simply an act of viewer imagination (putting Pierre in the photo) but of complicated collaboration between the mechanical objectivity of the photographic medium and the affective subjectivity of the viewerâs response to, and belief in, the photographic image. For Bazin it is the surrealists who truly grasp the unique potential of photographic media to stage an encounter between camera and viewer where the image of an object emerges in both its rational concreteness and its irrational essence. This is the object understood through the lens of what Breton refers to as surreality, or the resolution of dream and reality, and what Bazin refers to as factual hallucination, or the resolution of psychological âpseudorealismâ and aesthetic âtrue realism.â The surrealist, according to Bazin, insists on precisely that resolution of imagination and perception refused by Sartreâan insistence that âevery image is to be seen as an object and every object as an imageâ (OP 15â16). Bazin continues, âHence photography ranks high in the order of surrealist creativity because it produces an image that is a reality of nature, namely, an hallucination that is also a factâ (OP 16).15
Here Bazin attributes to surrealism an understanding of photographyâs most remarkable powerâto present the world as a factual hallucination, as an irrational dream coextensive with rational reality. In other words Bazin sees photographic media as having privileged access to certain modes of surrealist revelationâmodes that bridge the gap not only between Sartreâs perception and imagination but also between unknowable nature and knowable representation. When Rosalind Krauss summarizes the âaesthetic of surrealismâ as âan experience of reality transformed into representation,â16 she helps shed light on what Bazin, himself a one-time âfanatic surrealistâ and âenergetic practitioner of automatic writing,â17 may be after when he turns to surrealism near the end of âThe Ontology of the Photographic Image.â The experience of reality made photographic, in its capacity to merge the knowable and the unknowable by encompassing both mechanical objectivity and viewer subjectivity, takes shape for Bazin, finally, as a surrealist phenomenon. Just prior to concluding that âphotography is clearly the most important event in the history of plastic artsâ (OP 16), Bazin chooses to describe the photographic experience of reality in very particular terms: through surrealismâs unmasking of reality as surreality.
This is not to say that every time Bazin speaks of ârealismâ in his work on the cinema, what he really means is âsurrealism.â This would be impossible, for ârealism,â as Bazinâs central theoretical concept and critical standard, undergoes a number of significant transformations within and between his most important writings. But it is striking, especially given the conventional interpretations of Bazin as primarily concerned with cinemaâs faithful (even indexical) reproduction of preexisting reality, how often Bazinâs ârealismâ moves toward the territory of surrealism.18
Consider, for example, Bazinâs profound admiration for surrealismâs most important filmmaker, Luis Buñuel, whom he calls âone of the rare poets of the screenâperhaps its greatest.â19 Bazin insists that âBuñuelâs surrealism is no more than a desire to reach the bases of reality; what does it matter if we lose our breath there like a diver weighted down with lead, who panics when he cannot feel sand underfoot?â20 Or consider Bazinâs enthusiasm for Federico Fe...