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Camering [1977]

Published online by Cambridge University Press:  16 November 2022

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Summary

Tools always presuppose a machine, and the machine is always social before being technical. There is always a social machine which selects or assigns the technical elements used.’

Gilles Deleuze

One can think of the camera as a tool, an instrument, a machine that enables images to be recorded. These images can then be projected.

Words have a history. What the dictionary told us—in times past—of projeter, to project, was ‘jeter dehors’, the image evoked being that of rejecting something, throwing it out, while the word projet, a project, which has the same origin, evokes ‘all that by which people tend to modify the world or themselves in a given way’.

One is well aware that what's rejected is not worth much, is detritus. It's not particularly surprising that so many projections do indeed cause one to think of a rubbish dump on the outskirts of a village. Society takes out its rubbish and contemplates, and is moved by, the result of its effort. Society sees itself in the household rubbish that is projected in various formats. But what then is the Itself in question? Do people see themselves as they are? They see the leftovers, the packaging, the rejections, and are prompted to contemplate what they don't want, or no longer want, from their own customary. Nothing is lost. Projections are consumer goods. Thus functions a recovery circuit in which household rubbish holds on tight to what's imagined, projected.

One sees the S’ functioning as a dominant instrument on a detour by way of the camera, that small chamber ruled, reigned over, by a camérier, or chamberlain, ‘an officer in the pope or cardinal's chambers’, or by a camériste, or chambermaid, ‘a woman who attended to a princess’. On occasion, it's the camerlingue, or camerlengo: ‘a cardinal of the papal court who administers justice and the treasury, presides over the apostolic chamber, and governs when the Holy See is vacant.’

This is the case in the Petit Robert dictionary, which makes no mention of the cameraman. Though it is true that he who shoots a film occasionally takes himself to be the pope.

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Publisher: Amsterdam University Press
Print publication year: 2022

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  • Camering [1977]
  • Marlon Miguel
  • Book: Camering Fernand Deligny on Cinema and the Image
  • Online publication: 16 November 2022
  • Chapter DOI: https://doi.org/10.1017/9789400604308.006
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  • Camering [1977]
  • Marlon Miguel
  • Book: Camering Fernand Deligny on Cinema and the Image
  • Online publication: 16 November 2022
  • Chapter DOI: https://doi.org/10.1017/9789400604308.006
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Camering [1977]
  • Marlon Miguel
  • Book: Camering Fernand Deligny on Cinema and the Image
  • Online publication: 16 November 2022
  • Chapter DOI: https://doi.org/10.1017/9789400604308.006
Available formats
×