Steel in the gaze: On POV and the discourse of vision in Kathryn Bigelow's cinema

Screen

Volumn 38, Issue 3, 1997, Pages 232-246

  Rascaroli, Laura ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63849293721     PISSN: 00369543     EISSN: None     Source Type: Journal    
DOI: 10.1093/screen/38.3.232     Document Type: Article

References (25)

1. Kathryn Bigelow, interview in American Film, vol. 14, no. 10 (1989), p. 59
2. I owe this example to the review of Point Break by Leonardo Gandini, which appeared in Cineforum, no. 310 (1992), pp. 81-3
3. James Cameron, Strange Days (London: Penguin, 1996), p. 1
4. Christian Metz discusses the POV in the chapter on subjective images and sounds in his recent L'Ènonciation impersonelle, ou le site du film (Paris: Meridiens Klincksieck, 1991)
5. Marc Vernet, Figures de l'absence (Paris: Edition Cahiers du Cinéma, 1988)
6. Vivian Sobchack, The Address of the Eye: a Phenomenology of Film Experience (Princeton: Princeton University Press, 1992), p. 133
7. Gilles Deleuze, Cinema 1. The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986), p. 71
8. Sobchack, The Address of the Eye, p. 41
9. Cameron, Strange Days, p. 100
10. In Strange Days this system is complicated by the fact that there are two types of instrument-mediated perception: the camera and, at a narrative level, the squid
11. 'Fiber bundles go where no camera has gone', American Cinematographer, vol. 70, no. 5 (1989), pp. 99-102 (author unknown)
12. Jean Starobinski, The Living Eye, trans. Arthur Goldhammer (Cambridge, MA: Harvard University Press, 1989)
13. Linda Mizejewski, 'Picturing the female dick: The Silence of the Lambs and Blue Steel', Journal of Film and Video, vol. 45, nos 2-3 (1993), pp. 6-23
14. Yvonne Tasker, 'Blue Steel and women in the action picture', in Spectacular Bodies, Gender, Genre and the Action Cinema (London and New York: Routledge, 1993), pp. 158-62
15. Anna Powell, 'Blood on the borders: Near Dark and Blue Steel', Screen, vol. 35, no. 2 (1994), pp. 136-56
16. Robert T. Self, 'Redressing the law in Kathryn Bigelow's Blue Steel', Journal of Film and Video, vol. 46, no. 2 (1994), pp. 31-43
17. Anna Powell also discusses Megan's 'masculinity complex' in 'Blood on the borders', p. 144ff
18. Mizejewski, 'Picturing the female dick', pp. 15-16
19. 'Fiber bundles go where no camera has gone', p. 99
20. Powell, 'Blood on the borders', p. 149
21. The meaningful use of names in Blue Steel has often been highlighted, for instance by Self in 'Redressing the law in Kathryn Bigelow's Blue Steel, p. 40
22. Jean-Paul Sartre, Being and Nothingness, trans. Hazel E. Barnes (London: Routledge, 1995), p. 222
23. Merleau-Ponty's theory is in his ' The child's relation with Others', trans. William Cobb, in James M. Edie (ed.), The Primacy of Perception (Evanston: Northwestern University Press, 1964), pp. 135-6
24. Sartre, Being and Nothingness, p. 364
25. Juliet Mitchell, Psychoanalysis and Feminism (London: Penguin, 1990), p. 116