Hi all, be great if anyone has any suggestions on the following.
A colleague wonders if anybody knows of any critical work about secret
or automatic filming, in which the camera either has no viewfinder, or
no one looking through it?
She supposes CCTV is an example of this, and there is certainly some
stuff around that as an aesthetic in certain films (Haneke for example),
but was thinking of Claude Lanzmann's secret films of Nazis in SHOAH;
what does this do to the gaze, for instance?
Any ideas very welcome!
Dr Martin Flanagan
Programme Leader, BA (Hons) Film and Media Studies
University of Bolton
Online resources for film/TV studies may be found at ScreenSite