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Pristup Cjelovitom Tekstu Rada C M Y CM MY CY CMY K Composite Color profile: Generic CMYK printer profile Composite Default screen Vizualni studiji Uredio Krešimir Purgar K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 13:30:17 Color profile: Generic CMYK printer profile Composite Default screen Biblioteka Vizualna teorija Recenzenti Dr. sc. Nikica Giliæ Dr. sc. Sonja Briski Uzelac K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:24 Color profile: Generic CMYK printer profile Composite Default screen Vizualni studiji Umjetnost i mediji u doba slikovnog obrata Uredio Krešimir Purgar Zagreb, 2009. K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:24 Color profile: Generic CMYK printer profile Composite Default screen ISBN 978–953–55420–2–5 CIP zapis dostupan u raèunalnom katalogu Nacionalne i sveuèilišne knjinice u Zagrebu pod brojem 698618 K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:24 Color profile: Generic CMYK printer profile Composite Default screen v Sadraj Krešimir Purgar: Uvoduvizualnestudije vii Prvi dio: Znanost o slici i pictorial turn Gottfried Boehm: Povratak slika 3 W. J. T. Mitchell: Metaslike 24 Stefan Majetschak: Pravila vidljivosti 58 Christiane Kruse: Nakon slika 79 Drugi dio: Pobuna starih slika i nova povijest umjetnosti Jonathan Harris: Strukture i znaèenja u umjetnosti i društvu 95 Svetlana Alpers: Promatranje rijeèi: reprezentacija tekstova u nizozemskoj umjetnosti 124 Mieke Bal: Èitanje umjetnosti? 162 Norman Bryson: Géricault i »muškost« 181 Griselda Pollock: Estetika razlièitosti 205 Treæi dio: Filmologija u proširenom polju slike Victor Stoichita: Originalna kopija 233 Boris Groys: Ikonoklastièke strategije na filmu 253 Angela Dalle Vacche: Godardov Ludi Pierrot —filmskaumjetnost kao kola protiv slikarstva 271 Alice Kuzniar: Wendersova vjetrobranska stakla 296 K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:24 Color profile: Generic CMYK printer profile Composite Default screen vi Sadraj Èetvrti dio: Medijska stvarnost i spektakularne slike Douglas Kellner: Televizijski spektakl. Izvanzemaljci, urote i biotehnologija u seriji Dosjei X 321 Mark Osteen: Godardova djeca i Coca–Cola. Film i potrošaèko društvo u ranoj prozi Dona DeLilla 345 Maria Pia Pozzato: Slikarstvo Francisa Bacona u videospotu Radio 369 Kristin Marek: Slike — mentaliteti — povijest 380 Peti dio: Prema filozofiji slike u suvremenoj umjetnosti Michael Kelly: DantoiKraussoCindySherman 399 Marco Senaldi: Cover Theory. Suvremena umjetnost kao reinterpretacija 423 Jacques Rancie`re: Buduænost slike 443 Bibliografija 461 Bilješke o autorima 471 Kazalo 475 K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 14:14:32 Color profile: Generic CMYK printer profile Composite Default screen vii Uvod u vizualne studije Krešimir Purgar Štosutovizualnistudiji?1 Je li to nova znanstvena disciplina svijeta pod vlašæu slika koja æe nam ukazati na pravi put u preobilju vizualnih sadraja? Oznaèava li ona konaèan kraj povijesti ili, još vanije, kraj povijesnosti umjetnosti a time i raskid s epistemološkimutemeljenjemkojenamveæviše oddvastoljeæatumaèidajeuèinakumjetnièkogdjelaneupitnoisublimno iskustvopromatraèa?Jesulivizualnistudijisamopomodniikonièkidodatak kulturalnim studijima koji u doba slikovnog obrata trae redefiniciju kulture kroz vizualnu konstrukciju zbilje ili su oni neporeciva posljedica novoga epohalnog utemeljenja svijeta slike u sveobuhvatnom zaokretu prema vi- zualnosti? Na ova pitanja bit æe prilièno teško odgovoriti, èak i u podebljoj knjizi poput ove koju drite u rukama. Razlog tomu nisu samo oèekivani problemi koji se pred nas postavljaju kada pokušamo odrediti interpretacijsku preciz- nost i odrivost jedne relativno nove znanstvene discipline, nego ponajprije to što se veæina rasprava o vizualnim studijima još uvijek vodi na meta- teorijskoj razini, dakle kao rasprave o metodi i teorijskim modelima, zatim o njihovom odnosu prema drugim strukama (prvenstveno povijesti umjet- nosti) i akademskoj zajednici te naposljetku o temeljnoj i razarajuæoj sumnji da rasprava o slikama u tako širokome medijskom i tematskom opsegu danas uopæeimasmisla.Kadakaemdaovaknjiganeæeodgovoritinaspomenuta pitanja to ne znaèi da joj unaprijed oduzimam smisao nego znaèi da æe tekstovi koje u njoj donosimo zaobiæi popularne metateorijske nedoumice koje veæ dva desetljeæa prate vizualne studije i posvetiti se stvarnim objekti- ma njihovog interesa — slikama, filmovima, umjetnièkim i neumjetnièkim predmetima, visokoj i niskoj kulturi, te utjecaju vizualnosti na »ne–vizualne« medije i discipline, poput knjievnosti i filozofije. Ovo potonje pokazalo se kao najoriginalniji doprinos vizualnih studija razumijevanju suvremenog svijeta slike jer, primjerice, W.J.T Mitchell, jedan od najuvjerenijih promi- catelja vizualne kulture kao generalne kulture novog doba, tvrdi da njegova ideja pictorial turna ne znaèi napuštanje paradigme jezika nego upravo suprotno: njegovo obogaæivanje kroz prodor slikovne paradigme u jezik i knjievnost. K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:25 Color profile: Generic CMYK printer profile Composite Default screen viii Krešimir Purgar: Uvod u vizualne studije Što vizualni studiji ele? Jedna od teza koje zastupam u ovom Uvodu jest da su vizualni studiji interdisciplinarna hermeneutika novog vremena koja nastaje kao posljedica slikovnog obrata u trenutku kada postmodernizam, kao još jedini postojeæi sveobuhvatni teorijski pojam, gubi bilo kakvu vjerodostojnost i metodološku vitalnost. O problemima vezanima uz pictorial turn bit æe rijeèi nešto kasnije; za sada æe biti dovoljno konstatirati da su svi autori ukljuèeni u raspravu, od neizostavnog Mitchella do Gottfrieda Boehma, Keitha Moxeya, Mieke Bal, Jamesa Elkinsa, Marquarda Smitha, Lise Cartwright, Michael Ann Holly, Jamesa D. Herberta, Margaret Dikovitskaye, Nicholasa Mirzoeffa i mnogih drugih,2 u veæoj ili manjoj mjeri suglasni da je slikovni/vizualni/ikonièki obrat skup simptoma koje primjeæujemo u zapadnim postkapitalistièkim društvima, a koje karakterizira dominacija slike i vizualnog komuniciranja u svakodnevnom ivotu. Praktiène i teorijske implikacije, te naèini bavljenja slikovnim obratom razlièiti su svakome od spomenutih teoretièara (odatle i brojni prijepori oko disciplinarnog odreðenja vizualnih studija i objekata njihovog istraivanja), ali svima je zajednièko uvjerenje da je nova para- digma slike nadomjestila staru paradigmu jezika. Ovu tvrdnju èuli smo veæ mnogo puta, ali pravo je pitanje što ona doista znaèi: je li dominacija slike, televizijskih ekrana, reklamnih poruka, MMS–a, YouTube–a i drugih video sadraja u suvremenim društvima doista u opreci prema tekstualnosti i jeziènom iskustvu ili se slikovnim obratom to dvoje samo dovodi u ravnote- u,kakosugeriraMitchell,apravapromjenaparadigmedogaðasenezato što »ja gledam tebe, drugoga ili drugo« nego zato što »ti gledaš mene«, tj. ja postaje slikom koju gleda netko drugi. Ova psihoanalitièka verzija slikovnog obrata podjednako je zanimljiva koliko zbog svojih implikacija na objekte vizualne analize, tj. fizièke predmete koje promatramo, toliko i zbog vanog uvidadasuslikeitehnikepromatranja slikâ u neraskidivoj vezi. Nicholas Mirzoeff tvrdi da je tema vizualnih studija upravo »nova vizualna subjek- tivnost« koja je odreðena podjednako èinjenicom da subjekt nešto promatra te da njegova subjektivnost biva narušenom jer je i on promatran: »Gledaju me i vidim da sam gledan«.3 U pokušaju definiranja paradigme »gledati i biti gledan«, kao najvanije odrednicevizualnekulturedanas,Mirzoeffidekorakdaljeipolazišteza svojutezupronalazikodFoucaultainjegovogtumaèenjapanopticona. Naime, britanski filozof Jeremy Bentham je 1786. zamislio kako bi mogao izgledati savršeni zatvor, panopticon: u graðevini krunog tlocrta èuvar se nalazi u sredini i nije vidljiv zatvorenicima dok su oni u potpunosti izloeni pogledu èuvara i pogledima jedni drugih. Koristeæi Benthamovu arhitekton- sku konstrukciju kao vizualnu metaforu, Foucault je opisao mehanizam funkcioniranja suvremenih društava kontrole tvrdeæi da je »vidljivost klop- K:\usluge\cvs\cvs_zbornik01\cvs00.vp 9. travanj 2009 12:32:25 Color profile: Generic CMYK printer profile Composite Default screen Krešimir Purgar: Uvod u vizualne studije ix ka« i stoga najbolji naèin za odravanje reda i poretka. Mirzoeff sugerira da Foucaultova metafora panopticona kao jednosmjerne vidljivosti danas više nije dovoljna, niti kao simbolièki prikaz gledanja (gazing) i nadgledanja (surveillance), a još manje kao metafora interdisciplinarnih potreba vizualne kulture. Puno korisnijim za metodologiju i ciljeve vizualnih studija on vidi Lacanovo psihoanalitièko tumaèenje pogleda: Lacan je kroz svoju poznatu formulu o pogledu kao trenutku u kojem ja vidim sebe kako gleda mene ustanovio da procesom nadzora upravlja osjeæaj srama. (...) Lacan je preokrenuo nadzor u samo–nadzor i na taj naèin je od svakog vizualnog subjekta stvorio mjesto panoptièke drame identiteta. U naprednim kapitalistièkim društvima širom svijeta ljudi uèe kako da budu mediji. S digitalnim kamerama ispred oèiju, kad god im se neki privatni ili javni dogaðaj uèini vanim, ovjekovje- èuju sjeæanja koja se upisuju jedna preko drugih. (...) Danas je moguæe da se osjeæate da ste stalno pod nadzorom a da vas zapravo nitko ne promatra, jer se stalno izmièete pogledu jedne kamere da biste ušli u vidokrug druge.4 Premda sam ovim citatom to tek naznaèio, psihoanaliza je odigrala vanu ulogu u kratkoj povijesti vizualnih studija, ponajprije u odreðivanju njihove metode, a tek neznatno u opisu temâ: starija disciplina pokazala
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