The Matrixial Screen Encounter
Theorising the inter-subjective gaze in the documentary practice of Kim Longinotto
Dados Bibliográficos
| ID | 22169482 |
|---|---|
| Autores | Jolene Alexandria Mairs Dyer (University of Ulster, autor correspondente) |
| Ano | 2023 |
| Volume | 5 |
| Fascículo | 2 |
| Data de publicação | 2023-01-09 |
| Peer Reviewed | Sim |
| Open Access | Sim |
| Tipo | ARTICLE |
| Periódico | Open Screens (JOURNAL) |
| Identificadores do periódico | ISSN: 2516-2888 • E-ISSN: 2516-2888 |
| Editora | Open Library of the Humanities (PUBLISHER) |
| DOI | 10.16995/os.8121 |
| OpenAlex | W4283526039 |
| Idioma | EN |
| Referências citadas | 11 |
This article applies Ettinger’s (2001) notion of the matrixial to the documentary practice of Kim Longinotto. It considers this in relation to what I term the matrixial screen encounter, a model that expands the individualistic framing of the unitary auteur and acts as a counter to the notion of the impartial observer within the context of observational documentary. It applies this model to a scene from Longinotto and Mir-Hosseini’s 1998 documentary, Divorce Iranian Style and demonstrates how the matrixial screen encounter offers a way of mapping and considering the inter-connected, inter-subjective gazes, or layers of power within the scene, which are predominantly female and feminist. It concludes that the matrixial screen encounter provides a way of re-thinking the unitary, authoritative gaze of the auteur and the supposed impartiality of the camera-as-observer – reinforced by the term observational documentary - where the screen itself becomes a ‘locus of mediation’ at which various matrixes, gazes or layers of power, meet
Documentary film · Epistemology · Gaze · Impartiality · Media studies · Psychoanalysis · Sociology · Art, Politics, and Modernism · Cinema and Media Studies · History · Philosophy · Photography and Visual Culture · Psychology
| Velocidade de citação | historical |
|---|---|
| Altamente citado | Não |