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James Verdon 2012 Moving Images and the Real: The Responsibilities of Technology in Expressing Filmic Reality James Verdon Thesis submitted for the Degree of Doctor of Philosophy Swinburne University of Technology 2012 ABSTRACT Technologies of moving images have been representing reality since the late 1800s. Despite cinema and media histories documenting the relationships between moving images and reality, the vital philosophical enquiry into the mediation of this relationship by distinctive technologies of moving images is yet to be fully explored. This thesis considers successive transitions between technologies of moving images. It focuses on the relationships between technologies of moving images, these transitional phases and the reality such images represent. Crucial to this inquiry is the material relationship of moving images to physical reality. Rather than conforming to a dichotomy between analog and digital technologies, the thesis argues that only relationships between mechanical moving images and reality are indexical, as C S Peirce defines the term. Drawing on Peirce’s notion of indexicality and its application to nineteenth century photography, I argue how shifts in technology modulate the way that moving images represent reality and determine how they can be traced back to that referent. Central to the methodology of this argument is the application of empirical data to moving images that defines their material forms. The thesis demonstrates how the inclusion of engineering data into the discussion of the materiality of moving images demands new understandings of film, video and digital media with regard to their indexicality. In arguing from a predominantly theoretical viewpoint, current moving image theories do not sufficiently acknowledge the granularity of technology when describing indexical relationships between reality and moving images. I argue for the transposition of an indexical severance, commonly located at the nexus between analog and digital moving images, to be relocated to the site of transformation from mechanical to electronic moving images. This argument is premised on a fundamental attribute of both Peircian indexicality and analog i media—that of continuity in opposition to discretisation. This thesis argues for a nuanced materialist model of successive technologies that distinguishes between the operations of mechanical, analog electronic and digital media. I argue that a division between electronic analog and digital technologies is one best viewed as historical when articulating indexical relationships between moving images and reality. The thesis concludes that mechanical moving images are the only form of automated moving images capable of sustaining indexical relationships with reality and this classification is wholly dependent upon specific imaging technologies. ii ACKNOWLEDGEMENTS This project would not have been possible without the support and encouragement of a number of generous and talented individuals. I first thank my supervisor Darren Tofts—Professor, Media and Communications in the Faculty of Life and Social Sciences at Swinburne University who applied a formidable blend of intellect and experience to this project. I am grateful for his stamina, engagement, guidance and generosity in seeing this thesis finished. As someone coming from a production background I am also indebted to my Associate Supervisor, Senior Research Fellow Dr. Carolyn Barnes, who helped me understand what traditional academic research is and most importantly, how to do it. I especially thank my friend Kylie Message who offered expert and timely feedback on the manuscript and made succinct, cogent suggestions for improvement at just the right moment. I am grateful to Swinburne Research for offering me the Swinburne University Postgraduate Research Award (SUPRA) that created time and instilled confidence to commit to this project. I would like to acknowledge Professor Allan Whitfield, Dr. Deirdre Barron and Dr. Simon Jackson from Swinburne University and Natalie Jeremijenko—Associate Professor of Visual Art at New York University (NYU) for their comments on scope and methodology in the early stages of the research. This thesis would not have been finished without the tangible space to research, write and reflect, conjured from apparently nowhere by my stellar partner Sandra Palmer—thank-you. And to my daughter who was not even here when this started and who asked so many times after library writing sessions: ‘did you finish your PhD today Papa?’ Yes I did Eva. Let’s go play. iii DECLARATION BY CANDIDATE This examinable outcome contains no material which has been accepted for the awarding to me of any other degree or diploma, except where due reference is made in the text of the examinable outcome. To the best of my knowledge this text contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome. James Verdon iv TABLE OF CONTENTS List of Figures vii Introduction 1 Chapter One Out of Sequence: Transposing Peirce’s Indexical Severance 27 Chapter Two Reality, Mechanical Moving Images and their Antecedents 77 Chapter Three Reality Effect? Verisimilitude and Perceptual Realism in Mechanical and Analog Electronic Moving Images of the Twentieth Century 153 Chapter Four Reality, Simulation and Presentationism: the Transubstantiation of Digital Moving Images 233 Conclusion 313 Bibliography 319 Audio-Visual Material Cited 375 List of Abbreviations 401 v vi LIST OF FIGURES # p. 1 From SMPTE (2004, p. 9); Caption: ‘Figure 4: Composite video signal amplitudes’ 62 2 Generic analog halftone screen—magnified 71 3 From Trisweb (2007); Television shadow mask (left) and aperture grill (right)—magnified 73 4 Niépce, N. (1826), La Cour du Domaine du Gras [Photograph] 80 5 Muybridge, E. (1878), The Horse in Motion [Photograph] 90 6 Marey, É. (c. 1882), A Photograph of a Flying Pelican [Photograph] 90 7 Demenÿ, G. (1891), “Bonjour Madame” [Photograph] 92 8 Londe, A. (1885), Attack of Hysteria in a Man [Photograph] 92 9 From Lumière, A. & Lumière, L. (1895), L'Arrivée d'un Train en Gare de la Ciotat [Motion Picture; DVD frame grab] 95 10 Apple Computer (2010), iPad Billboard, 2nd Street, San Francisco [Photograph] 105 11 From Méliès, G. (1900), L'Homme Orchestre (One Man Band), [Motion Picture; DVD frame grab] 108 12 Unknown (c. 1860), Abraham Lincoln and John Calhoun [Photographs] 109 13 From Gance, A. (1927), Napoléon [Motion Picture Still] 142 14 From Gance, A. (1927), Napoléon [Motion Picture Still] 143 15 From Figgis, M. (2000), Timecode [Motion Picture; DVD frame grab] 145 16 From MacDorman, K. F. et al. (2009) Computers in Human Behavior 25, p. 696 [Figure] 161 vii 17 Unknown, (1879), Phenakistoscope [Etching] 164 18 Herndon, C. A. (1925), The Latest Prismatic Disc [Photograph] 164 19 From Welles, O. (1941), Citizen Kane, composited frame [Motion Picture; DVD frame grab] 173 20 From Welles, O. (1941), Citizen Kane, composited frame [Motion Picture; DVD frame grab] 174 21 From Alberini, F. (1911), unidentified 70mm film, reproduced in Usai, P. C. (1996, p. 9), [Motion Picture frame reproduction, likely an example from the Panoramico Alberini] 185 22 Cinerama Releasing Corporation, (September 30, 1952, p. 5), This is Cinerama: Program Booklet, World Premiere, [Printed Matter] 187 23 Cinerama Releasing Corporation, Cinerama camera [Photograph] 188 24 Gance, A. (c. 1926), Napoléon; Polyvision camera recording rig [Photograph] 188 25 From Expert, A. (1893), The Docwra Triple–Front View, p. 33 [Etching] 189 26 From Expert, A. (1893), The Docwra Triple–Back View p. 34 [Etching] 189 27 From Expert, A. (1893), Portable Triple, p. 39 [Etching] 189 28 Unknown (1953), Cinerama publicity material [Printed Matter] 191 29 Unknown (1953), Cinerama publicity material [Printed Matter] 191 30 Unknown (1953), Cinerama publicity material [Printed Matter] 191 31 Leydenfrost, A. (1952), Promotional Postcard for This is Cinerama [Printed Matter] 193 32 Todd AO (1955), Oklahoma! World Premiere, October 11. New York newspaper advertisement, [Printed Matter] 197 33 Unknown (1953), See All About It!, billposter advertisement [Printed Matter] 200 34 United Artists (1953), Bwana Devil billposter [Printed Matter] 202 viii 35 Kramer, A. (2009) Optical Flares: The Creative Lens Flare Studio [digital image] 258 36 Paramount Pictures (1998), The Truman Show billposter [Printed Matter] 262 37 From Abrams, J. J. (2009), Star Trek [Motion Picture; BD frame grab] 264 38 From Lynch, D. (2006), Inland Empire [Motion Picture; DVD frame grab] 273 39 From Lynch, D. (2006), Inland Empire [Motion Picture; DVD frame grab] 274 40 From Lynch, D. (2006), Inland Empire [Motion Picture; DVD frame grab] 274 41 From Kosinski, J. (2010), Tron: Legacy [Motion Picture; BD frame grab] 297 42 From Lisberger, S. (1982), Tron [Motion Picture; BD frame grab] 297 43 From Kosinski, J. (2010), Tron: Legacy [Motion Picture; BD frame grab] 299 44 From Kosinski, J. (2010), Tron: Legacy [Motion Picture; BD frame grab] 299 45 From Kosinski, J. (2010), Tron: Legacy [Motion Picture; BD frame grab] 299 46 From Cameron, J. (1989) The Abyss [Motion Picture, DVD frame grab] 304 ix x INTRODUCTION Introduction Interviewed in 1981, John Cage says that ‘if technology advances to the point where we forget the difference between television images and real scenes, then we can no longer talk about television’ (p. 215). In 2010, Panasonic launched a North American advertising campaign for 3-D Viera HD televisions that claimed ‘A 3D
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