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David MacDougall

she deplored was in fact the very limited and impoverished art of mere aestheticism, while the truthfulness that she advocated was limited to the truth of what the eye could see, what André Bazin, in his essay ‘The Ontology of the Photographic Image’, called the pseudorealism of appearances: The quarrel over realism in art stems from a misunderstanding, from a confusion between the aesthetic and the psychological: between true realism, the need that is to give

in The art of the observer
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David MacDougall

image, for it is produced by them, whereas an image is simply a record of the light reflected from their bodies. The addition of sound to films has produced an effect more powerful than the mere realism of spoken dialogue. Its verisimilitude reaches into our imaginations and releases a flood of other impressions, among which one of the most vivid is the sense of touch. The tactile immediacy of a person’s voice can be as expressive as their words, and from sounds we seem to be able to feel the textures of objects

in The art of the observer