Stories of Telltale Eyes.
This paper attempts to rethink the concept of the filmic gaze through a comparative analysis of three films, namely, Krzysztof Kieslowski's Krotki film o milosci (A Short Film about Love, 1988), Ferzan Ozpetek's La Finestra di Fronte (Facing Windows, 2003), and Wes Anderson's Moonrise Kingdom (2012)...
| Published in: | Anachronist Vol. 19; no. 1; pp. 105 - 134 |
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| Format: | Article |
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Anachronist
2019
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=148532479&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 148532479 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 12192589 7N3 jtl: Anachronist issn: 12192589 maglogo: N pubinfo: dt: 2019 vid: 19 iid: 1 pid: 20726 pub: Anachronist artinfo: ui: 148532479 ppf: 105 ppct: 29 formats: fmt: @attributes: type: P size: 1.4MB tig: atl: Stories of Telltale Eyes. aug: au: LÁSZLÓ, BORBÁLA affil: PhD student at the Doctoral School of Literary and Cultural Studies at the University of Debrecen su: Short films Anderson, Wes, 1969- Photographic darkrooms Romance films Gaze Sutures sug: subj: Short films Anderson, Wes, 1969- Photographic darkrooms Romance films Gaze Sutures ab: This paper attempts to rethink the concept of the filmic gaze through a comparative analysis of three films, namely, Krzysztof Kieslowski's Krotki film o milosci (A Short Film about Love, 1988), Ferzan Ozpetek's La Finestra di Fronte (Facing Windows, 2003), and Wes Anderson's Moonrise Kingdom (2012). 'Filmic gaze' here refers not to the production of thefilmic/discursive self through suture but to the wholefabric of the film, which is construed as a looking subject. Kaja Silverman's cinematic suture theory and Descartes's dark room parable are employed to illustrate how the passivising filmic gaze of classical narrative cinema confines the spectator to the position of the voyeur, who observes rather than creates the scene that pleases her. A Short Film about Love is analysed to demonstrate conventionalfilm-audience dynamics and is then compared with two contemporary auteur films, Facing Windows and Moonrise Kingdom, which, by addressing viewers through the characters' telltale eyes, keep reconceiving suture as they go along, blurring the boundary between intra-diegetic and extra-diegetic looks, and thus offering spectators a more active and varied spectatorial agency than that of the voyeur. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Anachronist is the property of Anachronist and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Anachronist holder: Anachronist dt: @attributes: year: 2019 holdings: @attributes: islocal: N |
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