Perceptual Experience and False Point-of-View Sshots in «L’Eclisse» (Michelangelo Antonioni, 1962) and «Death in Venice» (Luchino Visconti, 1971)
Abstract Point-of-view shots are a powerful resource when they are used in their canonical structure, but they also have great aesthetic potential when this structure is altered to break the spectator’s expectations. For example, in the cases of «false point-of-view shots» in which the viewer faces the need to reassess the subjective condition of the plane that she observes when the character with whom he thought she was sharing the look appeares in it. All false point-of-view shots produce experiences that share certain phenomenological qualities caused by the way they act on the expectations and perception of the viewer. This article reflects on four of these effects, describing their general scope and analyzing their expressive possibilities in two scenes of L’Eclisse (Michelangelo Antonioni, 1962) and Death in Venice (Luchino Visconti, 1971).
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Restivo, A. (2002). The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Durham: Duke University Press.
Rohdie, S. (1990). Antonioni. London: BFI Publishing.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M.?(1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
Bloom, M. (2010). Fragile Images and Concrete Things. Indirect Subjectivity and the Externalization of The Soul in Michelangelo Antonioni's Tetralogy. Off Screen (14) 4. Disponible en: https://offscreen.com/view/fragile_images
Bordwell, D. (1981). The Films of Carl Theodor Dreyer. Berkeley: University of California Press.
Bordwell, D., Thompson, K. (1995). El arte cinematográfico. Barcelona: Paidós.
Branigan, E. (1984). Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. Berlin, Nueva York, Amsterdam: Mouton Publishers.
Burch, N. (1984). Praxis del Cine. Madrid: Editorial Fundamentos.
Brunette, P. (1998). The Films of Michelangelo Antonioni. Nueva York: Cambridge University Press.
Burrows, S. (2000). Desire Projected Itself Visually: Watching Death in Venice. En D. Cartmell, I.Q. Hunter, H. Kaye e I. Whelehan (eds.), Classics in Film and Fiction (pp. 137-156). London: Pluto.
Currie, G. (2011). The Representation of Experience in Cinema. En D. Chateau (ed.), Subjectivity. Filmic Representation and the Spectator’s Experience (pp. 41-52). Amsterdam: Amsterdam University Press.
Dagrada, E. (2015). Between the Eye and the World: The Emergence of the Point-of-View Shot. Bruselas: P.I.E. Peter Lang.
Deleuze, G. (1984). La imagen-movimiento. Estudios sobre cine 1. Barcelona: Paidós.
Ford, H. (2015). Hard Clarity, Vaporous Ambiguity: The Fusion of Realism and Modernism in Anto-nioni’s early 1960s Films. Senses of Cinema, 74. Disponible en: http://sensesofcinema.com/2015/feature-articles/hard-clarity-vaporous-ambiguity-the-fusion-of-realism-and-modernism-in-antonionis-early-1960s-films-1/
Gallese, V., Guerra, M. (2020). The Empathic Screen: Cinema and Neuroscience. Oxford: Oxford University Press.
Morgan, D. (2016). Where are we. Camera movements and the problem of point of view. New Review of Film and Television Studies (14) 2, 222?248.
Restivo, A. (2002). The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. Durham: Duke University Press.
Rohdie, S. (1990). Antonioni. London: BFI Publishing.
Sobchack, V. (1992). The Address of the Eye: A Phenomenology of Film Experience. Princeton: Princeton University Press.
Willemen, P. (1974). The Fugitive Subject. En P. Hardy (ed.), Raoul Walsh (pp. 86-93). Edimburgo: Edinburgh Film Festival.
Wilson, M.?(1998). Art is ambiguous: The zoom in Death in Venice. Literature/Film Quarterly, (26) 2, 153-156.
Aertsen, V. (2020). Perceptual Experience and False Point-of-View Sshots in «L’Eclisse» (Michelangelo Antonioni, 1962) and «Death in Venice» (Luchino Visconti, 1971). Fonseca, Journal of Communication, (21), 15. https://doi.org/10.14201/fjc202021237251
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