Abstract
The question of the appearance of the body surges in a play of overwhelming forces, and its register in artworks assumes different shapes as their representation spreads towards other mediums. Firstly, following Aby Warburg’s thought, this article will analyse the process of the survival of bodies as potential motion in images. Warburg proposed an Iconological approach where the analysis of potential movement in the image yielded a formula for its analytic recomposition. Furthermore, he captured the transition at the beginning of the twentieth century, when the body representation moved to media that allowed movement reproduction, such as animation and cinema. The bodies' survival or capture contained an animist belief that gained propulsion with the first apparatuses and optical toys that allowed movement and live-action recording. This movement allowed for the production of a simulacrum of the living body and the power to recompose it in space. Therefore, this article will focus on the evolution of body representation and its survival to understand how images from the early twentieth century shaped and traveled around the world.
Highlights
Y pathos as analytical concepts to stimulate the connections between the potential internal movement of images and their subsequent technical manipulation of temporality
Warburg was a seismograph of his time, capturing how bodies turned into images and how images turned into bodies at the beginning of the twentieth century
Time manipulation and the recomposition of images produce pathos or affection targeted to the audience, in the similarities and differences that had arisen between European, American, and Japanese conceptions of moving images, in the establishment of animation as a genre
Summary
Y pathos as analytical concepts to stimulate the connections between the potential internal movement of images and their subsequent technical manipulation of temporality. Warburg understands the symptom or the symptomatology as the movement in the bodies, and by excavating their traces in the image, it is possible to uncover their temporalities and survival. Warburg’s comparison with the seismograph brings forward a double meaning, the capacity to register the pathos of an era, and shows the technical transformations in image capture and production at the time.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Aesthetic journeys and media pilgrimages in the contexts of pop culture and the creative industries from and to East Asia
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
