J. Pollock said, “Technique is just a means for arriving at a statement.” Yet he must have recognized the difficulty his audience faced in understanding automatic lines. To settle this problem he allowed outsiders to enter his studio and photograph him while he was working. These photographs of J. Pollock succeeded in expanding the ways in which his art was interpreted. They also offered ideas and themes for artists who followed him. The influence of these photographs can be seen in happenings, performance art, and conceptual art. Hereupon they are no longer a mere remedy for understanding his painting, but they themselves have begun to gain an original artistic efficiency. The photographs of J. Pollock are worth noticing in the aspect of these postmodernist movements.

 Scrolls with illustrative pictures accompanied by stories such as the Genji Emaki furnished entertainment for court ladies in the Heian Era. Today, motion pictures with dramatic effects heightened by advanced technique provide us excitement and pleasure, while visual communication media are becoming more and more important in our modern mass culture.

 In contrast to the universal capacity for language which defines and extends human spiritual life, pictures have always their own unique mode of communication which empathizes subconsciousness. The system of producing movies by taking sequences of photographs and editing the resultant film is similar to the process of foming images and memories in our mind.

 People are able to amend prejudice and make their own interpretation of life while enjoying movies. People can also release their subconscious desire by seeing moving pictures, from which are created “dreams in daytime.” Thus the movie is the unique medium of modern mass culture which has changed society by altering its image of life.

 In 1920s a group of avant-garde artists were eagerly searching for a new art to take the place of painting. This group found what they sought after in photography, film and light display – the “new mechanical art”. At about the same time, Bauhaus, the art and design school founded in 1919 in Weimar, Germany by architect Walter Gropius, was developing a marked tendency towards the acceptance of this new under competent guidance of Laszlo Moholy-Nagy, one of the representatives of this new art. This paper, making full use of abundant source material, deals with the works and theories of the new art in 1920s, and attempts to throw an additional light on the reception of the new art at Bauhaus. The author maintains that the early influence of the new art laid one of the most impotant foundations for “a new unity of art and technology” at Bauhaus.

 Jean-Louis Baudry met en question, dans son article, Le Dispositif, le désir de regarder qu’ on a deja eu du temps de Platon qui élaborait la métaphore de la caverne. D’autre part, il le lieait au travail du rêve que Freud a decouvrert. Il me semble que le cinéma aussi produit ce même désir que la caverne et le rêve incluent dans leurs processus. Dans la plupart des cas, ce désir de regarder se satisfait sous la forme d’une impression de réalité.

 Genéralement, l’impression de réalité au cinéma passe par des rapports analogiques entre l’image et son objet. Mais il est difficile de trouver la vraie essence de l’image dans le cinéma, parce qu’elle n’indique qu’un plan optique de son objet qui a divers angles et aspects. Il est préférable de penser ici que l’appareil cinématographique est un dispositive qui ne fait que suggerer l’impression de réalité au spectateur. De ce fait, une image (representée) ne ressemble pas à son objet, mais on la croit ressemblante.

 Ainsi, en tenant le cinéma pour un certain effet, nous avons à eclairer le mécanisme qui le produit. Baudry et Christian Metz essaient de trouver cette clef dans un rapport du rêve. C’est-à-dire, resemblance entre une situation du cinéma et celle au rêve : voir en rêve une autre scène qui est regardée comme la scène primitive, et voir un film. Dans chaque cas, il y a prédominance de la perception visuelle. Il s’agit de s’interroger sur ce que c’est que le cinéma, c’est-a-dire, chercher à definer une partie du champ sémantique de “regarder.” Dans cette optique, il faut traiter des différences entre les regards, comme Ferdinand de Saussure montrait l’opposition entre les signes linguistiques. C’est un des sens de “regarder” qui est en question.