By Norman K. Denzin
Ranging over a wealthy number of fabric from movie and picture literature, and encompassing a serious interrogation of conventional realist ethnographic and cinematic texts, this e-book highlights the level to which the cinema has contributed to the increase of voyeurism all through society.
The cinema not just turns its viewers into voyeurs, eagerly following the lives of its reveal characters, yet casts its key avid gamers as onlookers, spying on other's lives. the character of the cinematic voyeur is tested extensive, as are its implications for modern society. Norman ok Denzin analyzes Hollywood's manipulations of gender, race and sophistication, and, drawing at the paintings of Foucault, argues that the cinematic gaze needs to be understood as pa
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Extra info for The Cinematic Society: The Voyeur's Gaze (Published in association with Theory, Culture & Society)
Nothing in its work could be considered examples of pioneering cinema. Rather, they were commercial products for the then audience and have now, somehow, found their way into the history books of h. So two questions come to mind: Why did they appeal to audiences of the fifties and sixties? And why is there so much interest in them some forty years on? To answer the first: Television was still unsophisticated, and the public knew they would get value for money from a Hammer film and in the bargain they could cower in fi-ight under the seat and scream fieely.
And soon enough it did arrive. “Close the doors,” called Bluey. “Red light. ” And that’s when he told one of h s lengthy jokes. By the time he’d got to the punch line the actors’ makeup had run in the heat and we had to start all over again. Still, it was a funny story and even John Gilling, not known for his patience, laughed at it. It seems by now that Mr. Keys had had su5cient faith in my ability to promote me to second assistant director. It was either that or because I’d won a brownie point by solving a little problem for executive producer Anthony Hinds.
Might try them myself,” Terry murmured. Terry was at the studio polishing off the postproduction of the latest Frankenstein, and Roy Baker there to dlscuss the next production scheduled for Hammer. Again I had been kept on after most others had left, to help clear up at Bray once and for all. Doubtless the cost of running it for fifiy-two weeks a year had become more expensive than renting space at another studio for the duration of shooting, and so, very sadly, the mummy 33 34 Chapter 4 picture was the last one we made there.