By Francesco Casetti
.."". will upload a lot to the repertoire of movie scholarship... "" --Choice
This movie concept vintage brings semiotics and psychoanalytic thoughts to endure at the movie event, to respond to questions akin to: In what method does movie handle its spectator? How does the movie prefigure the spectator? Is the movie conscious of its orientation in the direction of its spectator? And to what quantity does it posit itself because the spectator's lead?
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Additional info for Inside the Gaze: The Fiction Film and Its Spectator
Example text
It enables the discovery of a plot, which while latent is quite clear. This plot is manifest in suggestions or even in actual instructions, or still yet in the irreversible conversion from "wish to tell" into "make understand/' It also allows a revelation of the vari- 10 Inside the Gaze ousfiguresinternal to the text: auditors perfectly described, spectators located within the scene, witnesses, spies. In short, all sorts of elements serve as veritable addressees internal to the narration. This approach allows us to closely follow the "implied reader," the image of the "public" elaborated within the text.
Consider this taboo within the viewpoint provided by our project. If the look into the camera and toward the spectator is a case of an enunciated enunciation, why does thefilmictext typically avoid or eliminate it? We can perhaps formulate a response by analyzing two additionalfilmexamples. These examples illustrate a binarism suggested by cinema's historical evolution, given that one concerns an early experiment in filmic narration and the other a quite radical attempt to demonstrate cinema's role as a fiction-producing machine.
At the very moment of explicit contact between the movie screen and the inside of the theater, we discover that this contact is problematic, and doubly so. To resolve this question and to undertake the investigation proposed in the preceding chapter, we must begin by recognizing that in light of this apparent caprice, the explanations advanced so far are insufficient. We should try to understand if, when, and why the spectator is put into play, and under what conditions he or she is assigned a space of activity.