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- W2462915543 abstract "”Nausicaa” is known for its ambiguous double-voicedness as a consequence of Joyce's application of the free indirect speech technique: it is hard to tell who is speaking in whose voice. In his fascinating study ”'Alone in the Hiding Twilight': Bloom's Cinematic Gaze in 'Nausicaa,'” Philip Sicker scrutinises such double-voicedness from the perspective of turn-of-the-century proto-cinematic device-the mutoscope-and anatomises the overlapping narratives into distinct yet interwoven layers of Bloom's cinematic gaze and Gerty's intrusion into his voyeuristic projection. Based on Sicker's interpretation and Christian Metz's theory on the fetishistic nature of cinematic off-frameness, this paper proposes that the mutoscopic spectacle of ”Nausicaa” suffers from the symptoms of cinematic fetishism on multiple levels: on a surface level, Bloom's mutoscopic vision is fetishistic in that it zooms in on Gerty's undergarments yet suddenly fades out before it almost encounters her revealed private parts; on a deeper level, Gerty's narcissistic look at herself is fetishistic because it screens off her own disabilities and focuses on such commodities as fashion items she wears and patent medicines she takes; on the deepest level, Joyce's direction of this micro-spectacle is arguably fetishistic as well, because he exhibits a commodified world in detail yet deliberately keeps the invading colonial force off-frame." @default.
- W2462915543 created "2016-07-22" @default.
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- W2462915543 date "2013-12-01" @default.
- W2462915543 modified "2023-09-23" @default.
- W2462915543 title "＂Mutoscope Pictures in Capel Street＂: The Voyeuristic Micro-spectacle in ＂Nausicaa＂" @default.
- W2462915543 doi "https://doi.org/10.6153/ntusll.2013.30.05" @default.
- W2462915543 hasPublicationYear "2013" @default.
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