Exploring Modes of Surveillance in Films
Bibliographic Data
| ID | 22007355 |
|---|---|
| Authors | Matteo Ciccognani (0000-0003-1718-2149, University of Leicester, corresponding author) |
| Year | 2022 |
| Volume | 10 |
| Issue | 1 |
| Pages | 89-123 |
| Publication date | 2022-12-19 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | CINEJ Cinema Journal (JOURNAL) |
| Journal identifiers | ISSN: 2158-8724 • E-ISSN: 2159-2411 |
| Publisher | University Library System, University of Pittsburgh (PUBLISHER • US) |
| DOI | 10.5195/cinej.2022.444 |
| OpenAlex | W4313429777 |
| Language | EN |
| Citations received | 1 |
| References cited | 18 |
This article frames a theoretical discussion of cinematic gestures in their opposing forms, illusionism and reflexivity, exploring different modes connecting surveillance and film. One observes cinema as an illusionistic surveilling machine that records reality. In this respect, surveillance can be an “element of movie plots.” Then, given the simultaneously entrapped and swaying nature of cinematic gestures, the investigation of film reflexivity associated with surveillance reveals a dual character. The dominant one (auto-mediacy), although guided by a subversive thrust, ultimately reinforces the dynamics of the internal panopticon, the regulation, and the marketization of the self. Conversely, another form of emancipative self-reflexivity (autoscopia) operates a set of enunciations exalting the filmmaking process’ materiality. The film Grizzly Man is an example of autoscopia generating a form of technology-mediated subversive self examination
Aesthetics · Art · Dialogical self · Epistemology · Ethnomethodology · Filmmaking · Gesture · Marketization · Movie theater · Panopticon · Political science · Reflexivity · Social science · Sociology · Temporalities · Visual arts · Cinema and Media Studies · Computer Science · Digital Games and Media · Digital Media and Philosophy · Law · Philosophy · Artificial Intelligence
Remediation
Dark Matters
A critical glance into the metacinematic gestures of The Act of Killing
Coming to terms with social media monitoring
Surveillance Capitalism and Platform Policing
Sousveillance Capitalism
Surveillance Cinema
Introduction
Dis-ease Surveillance
You never really know who’s looking”
Impersonal Enunciation, or the Place of Film
Discipline and Punish
Sousveillance
Film Worlds
Reflectionism" and "Diffusionism
The generalized sousveillance society
| Unique citing works | 1 |
|---|---|
| Citations per year | 1 |
| Citation span | 2026 - 2026 (1) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 1 |