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The crime scene that never is, or how Echo plays with the forensic gaze
- Source: Short Film Studies, Volume 11, Issue 1, Jan 2021, p. 107 - 112
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- 28 Feb 2020
- 01 Apr 2020
- 01 Jan 2021
Abstract
Through reconstructing the crime scene, Echo undermines the omniscient power of the forensic gaze and problematizes the relationship between the image and haptic spectatorship. While eliminating the spectacle and affect, the camera intensely lingers on characters’ facial image to engage viewers in the voyeurism of an absent scene of violence.
Funding
- National Science Centre, Poland, under the project ‘Lost highways, forgotten travels: The road movie in the post-war American avant-garde and experimental film through the lens of women and men filmmakers’ (Award UMO-2018/31/D/HS2/01553)
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