Iconic Power pp 187-202 | Cite as

Body and Image

  • Hans Belting
Part of the Cultural Sociology book series (CULTSOC)

Abstract

The discourses of media and body are usually separate, but media and bodies themselves unite in the experience of images. This anthropological constellation of image, medium, and body is expanded with a fourth factor when we introduce the concept of the gaze. Images emerge only in the act of looking. But then we have to understand looking as the carrier of our entire knowledge about images (Bildwissen). Gazes are the accomplices of bodies that engage with old and new visual media. They are as active as the gazing subject itself. We are used to thinking of gaze and image as separate, and therefore we speak of looking at an image. The present paper, however, develops the idea that images form in adapting the gaze. The complicity between body and gaze leads to the image. This is the reason why the “gaze” is such a frequent topic of many visual media. According to the iconology of the gaze (Belting 2005a: 50–58), the act of looking is not only attracted by images but is also displayed in them, as if images had a faculty of looking themselves or could reciprocate our looks.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Augé, M. 1997. La guerre des reves: Exercises d’ethno-fiction. Paris: Editions du Seuil. Translated by L. Heran as The War of Dreams: Exercises in Ethno-Fiction (London; Sterling, VA: Pluto Press, 1999).Google Scholar
  2. Bachmann-Medick, D. 2006. Cultural Turns: Neuorientierungen in den Kulturwissenschaften [New orientations in the cultural sciences]. Reinbek: Rowohlt Taschenbuch Verlag, Enzyklopädie Series.Google Scholar
  3. Belting, H. 1997. “Über Lügen und andere Wahrheiten der Malerei” [About lies and other truths of painting]. In Sigmar Polke: Die drei Lügen der Malerei [Sigmar Polke: the three lies of painting], edited by Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, 140–42. Berlin: Cantz.Google Scholar
  4. —. 2000. “The Theatre of Illusion.” In Theaters, edited by H. Sugimoto, 1–7. New York: Sonnabend Sundell Editions:.Google Scholar
  5. —. 2001. Bild-Anthropologie: Entwürfe für eine Bildwissenschaft [Anthropology of the image: essays for a science of images]. 160. Munich: W. Fink.Google Scholar
  6. —. 2005a. “Zur Ikonologie des Blicks” [Iconology of the glance]. In Ikonologie des Performativen [Iconology of the performative], edited by C. Wulf and J. Zilfas, 50–58. Munich: Fink.Google Scholar
  7. —. 2005b. “Image, Medium, Body: A New Approach to Iconology.“ Critical Inquiry 31: 302–19.CrossRefGoogle Scholar
  8. —. 2005c. Das echte Bild: Bildfragen als Glaubensfragen [The authentic image: image-questions as questions of faith]. Munich: Beck.Google Scholar
  9. —. 2005d. “Toward an Anthropology of the Image.” In Anthropologies of Art, edited by M. Westermann, 41–58. Williamstown, MA: Sterling and Francine Clark Art Institute.Google Scholar
  10. Breton, S., ed. 2006. Qu’est-ce qu’un corps? [What is a body?]. Paris: Musée de Quai Branly.Google Scholar
  11. Didi-Huberman, G. 1997. L’Empreinte [The imprint]. Paris: Centre Georges Pompidou Service Commercial.Google Scholar
  12. Ferino-Pagden, S., and L. Fornari Schianchi, eds. 2003. Parmigianino und der europäische Manierismus [Parmigianino and European mannerism]. Vienna: Kunsthistorisches Museum/Silvana Editoriale. Exhibition catalog.Google Scholar
  13. Frontisi-Ducroux, F. 1997. “Narcisse et ses doubles” [Narcissus and his doubles]. In Dans l’oeil du miroir [In the eye of the mirror], edited by F. Frontisi-Ducroux and J.-P. Vernant. Paris: O. Jacob.Google Scholar
  14. Greenaway, P. 1996. The Pillow Book. Paris: Dis Voir.Google Scholar
  15. Holmes, O.W. 1859. “The Stereoscope and the Stereograph.” The Atlantic Monthly, June, 738–48.Google Scholar
  16. Kremer, D. 2000. “Der Film als Bibliothek” [The movie as library]. Büchner: Monatszeitschrift für Kunst und Kultur 6: 20–27.Google Scholar
  17. Kruse, C. 2003. Wozu Menschen malen: Historische Begründungen eines Bildmediums [For what reasons humans paint: foundations of an image medium]. Munich: Wilhelm Fink Verlag.Google Scholar
  18. Leitner, B. 1998. Sound: Space. (Conversation with Wolfgang Pehnt). Ostfildern: Cantz.Google Scholar
  19. Mai, E., ed. 1987. Flämische Malerei von 1550 bis 1650 [Flemish painting from 1550 to 1650]. Cologne: Wallraf-Richartz-Museum, Bildhefte zur Sammlung.Google Scholar
  20. Mary, B. 1993. La Photo sur la cheminée: Naissance d’un culte modern [The photograph on the chimney: the birth of a modern cult]. Paris: Diffusion Seuil.Google Scholar
  21. Meyer-Kalkus, R. 2001. Stimme und Sprechkünste im 20. Jahrhundert. [Voice and Arts of Speech in the Twentieth Century]. Berlin: Akademie-Verlag.Google Scholar
  22. Mitchell, W. J. T. 2005. What Do Pictures Want?: The Lives and Loves of Images. Chicago: University of Chicago Press.Google Scholar
  23. Nancy, J.-L. 2000. Le regard du portrait [The gaze of the portrait]. Paris: Galilée.Google Scholar
  24. Neumeyer, A. 1964. Der Blick aus dem Bilde [The look out of the image]. Berlin: Gebr. Mann.Google Scholar
  25. Paik, N. J. 1976. “Input Time and Output Time.” In Video Art: An Anthology, edited by I. Schneider and B. Korot, 98–99. New York: Harcourt Brace Jovanovich.Google Scholar
  26. Stedelijk Museum, ed. 1992. Sigmar Polke: Schilderijen. Translated by Ruth Koenig. Amsterdam: Stedelijk Museum. Exhibition catalog.Google Scholar
  27. Stiegler, B. 1996. “L’image discrete” [The discrete image]. In Echographies de la télévision: entretiens filmés Echographies of the television: filmed interviews], edited by J. Derrida and B. Stiegler, 160–83. Paris: Galilée: Institut national de l’autovisuel.Google Scholar
  28. Stoichita, V. I. 1997. A Short History of the Shadow. London: Reaktion Books.Google Scholar
  29. —. 1990. “Der Quijote-Effekt” [The Quijote effect]. In Die Trauben des Zeuxis: Formen künstlerischer Wirklichkeitsaneignung [The grapes of Zeuxis: forms of artistic appropriation of reality], edited by H. Körner. Hildesheim and New York: G. Olms Verlag.Google Scholar
  30. Tarkovsky, A. 1988. Hoffmaniana: Scénario pour un film non realize. Munich: Schirmer/Mosel.Google Scholar
  31. Theye, T. 1989. Der geraubte Schatten: Photographie als ethnographisches Dokument [The stolen shadow: photography as ethnographic document]. Munich: Münchner Stadtmuseum.Google Scholar

Copyright information

© Jeffrey C. Alexander, Dominik Bartmański, and Bernhard Giesen 2012

Authors and Affiliations

  • Hans Belting

There are no affiliations available

Personalised recommendations