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- W2337810596 abstract "THE READING OF A FILM, much like that of a novel, demands the active participation of the viewer, who must construct the diegetic time and space out of a succession of visual and auditory perceptions and keep track of the narration by evaluating the point of view through which diegetic information is mediated.1 This participation, however, is dependent upon the viewer's involvement with the spectacle, which presents itself at once as a visual/auditory experience and as a diegesis. With the help of psychoanalysis, it is possible to describe the various levels of the spectator's involvement as types of identification. Identification motivates the spectator's wish to construct the meaning of a film; at a more basic level the pleasurable feelings that arise from the viewing of a film can also be explained by mechanisms of identification. Finally, certain formal qualities of the film medium can be employed by directors either to enhance or inhibit identification. Here again, form and meaning are inextricably bound together. Film identification is the subject of discussion in the writings of some of the earliest film theorists. In his two-volume Esthetique et psychologie du cinema, Jean Mitry explains identification as the spectator's participation in the diegetic space: Du fait que tout se passe comme si nous nous deplacions dans l'espace represent6, nous lui accordons une 'realite' 6vidente et nous nous y 'integrons.'2 The spectator's capacity for integration depends on a disavowal, a tension between knowledge and belief: Je me sais dans la salle mais je me sens dans le monde offert a mon regard; un monde que j'eprouve 'physiquement' en m'identifiant a l'un ou a l'autre des personnages du drame-a tous, alternativement (p. 179). Like the surrealists, Mitry sees an affinity between the cinema viewing experience and the dream experience; but where Andre Breton praised the cinema for its ability to suspend the conscious, critical faculties,3 Mitry underscores the analogy between the involuntary participation of the dreamer in the pseudoreality of the dream-world and the voluntary participation of the film spectator: II s'agit... d'un etat analogue a celui du reve (intermediaire entre le reve" @default.
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- W2337810596 date "1982-01-01" @default.
- W2337810596 modified "2023-09-26" @default.
- W2337810596 title "Form and Meaning in the French Film, III: Identification" @default.
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