“the camera’s point of view on the world it films necessarily includes assumptions about the spectators of that world.” This seems to be neither the passive viewer of false consciousness Metz proposes, but neither is it quite the Brechtian viewer so many films of the late sixties wanted to create, and that we touched upon in relation to structuralism, psychoanalysis and ideology and politics: the viewer made out of the ideological and formal mechanics of the apparatus.
those who will watch the film have, in a sense, already been created by it. That’s how the camera looks at us: it imposes on our looking an identity already invented for us.” To some degree this involves distanciation, or what literary theorist Victor Shklovsky called ‘estrangement’ – where the reader or viewer would be aware of the made aspect of the art work – but often in recent cinema this has been incorporated into a high degree of manipulation on the filmmakers’ part. Many filmmakers over the last few years who have utilised distanciation devices have done so to point up the effectiveness of the immediacy devices they have been utilising.
those who will watch the film have, in a sense, already been created by it. That’s how the camera looks at us: it imposes on our looking an identity already invented for us.” To some degree this involves distanciation, or what literary theorist Victor Shklovsky called ‘estrangement’ – where the reader or viewer would be aware of the made aspect of the art work – but often in recent cinema this has been incorporated into a high degree of manipulation on the filmmakers’ part. Many filmmakers over the last few years who have utilised distanciation devices have done so to point up the effectiveness of the immediacy devices they have been utilising.
No comments:
Post a Comment