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Identifikators:416591
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Publicēts: 17.08.2009.
Valoda: Angļu
Līmenis: Augstskolas
Literatūras saraksts: 4 vienības
Atsauces: Ir
Darba fragmentsAizvērt

The theories of filmic narration claim the spectator to be relatively passive. Also the classical film treats the classical spectator as passive material for a totalizing machine. (1: pp. 164) “Of mimetic theorists, only Eisenstein allows the spectator an interesting mental life, including features such as expectation and some powers of inference.” (1: pp. 29) “The spectator of psychoanalytic film theory is not a person, but a conceptual “space.” Like a seat in the movie theater, this subject position is “empty”, in the sense that anyone can occupy it.” (2: pp. 537) So “the concept of the spectator as predetermined by the ideological operations of the cinematic apparatus, and constituted at the level of unconscious fantasy, also proposes an extreme account of cinema as a manipulative practice.” (2: pp. 539) “Consequently, theorists seized upon Pudovkin hints that the spectator is ideally mobile in space and time. According to Ivor Montagu, for instance, cinema makes the viewer an “ideal observer” who can see “aspects which would normally be unavailable to an observer in real life”.” “The invisible witness thus becomes an omnipresent one as well, endowed with a ghostly ubiquity.” (1: pp. 10) To sum it up, one could state that the spectator is referred as the invisible observer, the subject (the viewer), observer, implied spectator and in wider sense the audience. Thereby the spectator is ascribed to both active and passive role in the process of film watching that in its turn points to different levels of interpreting this process.…

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