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Which clippings match 'Subjective Viewpoint' keyword pg.1 of 1
09 JUNE 2013

Lady in the Lake: the dramatic effect of subjective point of view

"Robert Montgomery drehte 'Lady in the Lake' 1947 nach einem Plot, das Raymond Chandlers gleichnamigen Roman adaptierte. In diesem Spielfilm verfolgen Beobachter die Handlung aus der Perspektive des Detektivs Philip Marlowe: Personen, die sich Marlowe zuwenden und mit ihm sprechen, wenden sich der Kamera zu. Das wirkt in Filmvorführungen im Kino, als wenden sie sich in den Projektionsraum und sprechen die Zuschauer an. Der Beobachter wird zugleich ins Bildgeschehen durch die szenische Konstellation hineingezogen (Immersion), wie auf die Grenze zwischen Filmraum und Projektionsraum verwiesen, da er im Filmraum nicht selbst handeln kann, sich aber wie Marlowe im Bildraum verortet. Marlowe bleibt ein anderer, meist unsichtbarer Körper, der aber sieht und den Anschluss des Beobachters an seine Wahrnehmung einfordert: Die Kamera verleiht ihren Beobachtern einen szenischen Kontext, in den Kinozuschauer sich versetzen können. Sie stossen dabei sowohl auf Vorgaben (wie Marlowe spricht) wie auf Fehlstellen (das Sichtbare von Marlowes Auftreten, wenn er nicht in einen Spiegel schaut)."

(Thomas Dreher, IASLonline)

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TAGS

1947 • Audrey Totter • black and whitecamera anglecinematic conventionscinematic languagecinematic spacecrime fictiondetective storyfilm languagefilm noirfirst-person point of viewformal conceit • hardboiled • hardboiled detective • IASLonline • immersionLady in the Lake (1947)perspective view • Philip Marlowe • point of viewPOV • Raymond Chandler • Robert Montgomery • screen space • subjective shot • subjective viewpoint • visual conceit • visual depictionvisual language

CONTRIBUTOR

Simon Perkins
03 MARCH 2011

The camera's relation to reality is addressed directly by the documentary filmmaker

"The issue of the camera's relation to reality, which permeates the fiction film, is addressed directly by the documentary filmmaker, who has always aspired toward capturing the sight and sound of life in an unobtrusive and impartial manner. The ambivalent nature of the medium, which excludes the human element as an intermediary but nevertheless implies a subjective viewpoint, gives rise to issues concerning the camera's legitimacy to record the 'obscene' object of reality. Questions about what degrees of faithfulness to the truth establish a film as a documentary, and whether such faithfulness is even possible, have accompanied the history of documentary filmmaking since its origin.

In the meantime, partly due to the technological advancements, documentary underwent a revival, and experimentations with the new technology abounded. The answer of 'direct cinema', which included Richard Leacock, Donn A. Pennebaker and the Maysles brothers as its representatives, was a purist approach in which the impact of the observer on the observed had to be kept to a minimum. Interviews, voice–over commentary and any other forms of interaction with the subject matter were considered to contaminate the result of the observation. Others like, Pierre Perrault, used the new equipment to draw meaning from the seemingly insignificant and the quotidian, attempting to find greater meaning in and unity to the whole by observing and bringing together the small elements of everyday life."

(Barbara Bruni, Senses of Cinema)

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TAGS

ambivalence • Andre Bazinauthorial intrusion • Chronicle of a Summer • cinema veritecommentaryconstructed realitydirect cinemadocumentarydocumentary filmmakerdocumentary filmmakingdocumentary truthDonn A. Pennebaker • Edgar Morin • ethnographiceveryday lifeexperimentationfiction filmimpartiality • intermediary • interviewJean Rouch • Lightning Over Water • Maysles Brothersmedium • Nicholas Ray • observation • Pierre Perrault • realityRichard LeacockSenses of Cinema (journal)subjective viewpointtechnological advancements • The Human Pyramid • truth • unobtrusive • voice-over • voice-over commentary

CONTRIBUTOR

Simon Perkins
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