By Bert Cardullo
Film research: A Casebook bargains an available advent to movie research via shut readings of 25 traditionally major movies from round the world.
• encompasses a geographically varied number of motion pictures and administrators, with illustration from 20 diversified countries
• Covers the various principal movies taken care of in today’s cinema classes, and the problems raised approximately them
• offers scholars with useful versions to assist them increase their very own writing and analytical skills
• Supplemented with movie credit, photos, and bibliographies; director filmographies, a word list of movie phrases, and recommended issues for writing and discussion
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Additional info for Film Analysis: A Casebook
Land of Silence and Darkness is usually discussed in terms of sensory deprivation. 30 The deficit model of physical, cognitive, and sensory impairment has, of course, been challenged in the field of disability studies, and this has certain implications for our understanding of Herzog’s film. In this context, to privilege either vision or its loss is to miss the key point; that is, touching functions as a mode of spectatorship in its own right. And the act of showing touching doubles as a strategy for encouraging the film spectator to see differently, to feel with her eyes.
Stylization here usually denotes the use of certain techniques—scripted lines, staged scenes, handheld camera work, and nondiegetic music— whose cumulative effect is understood as excessive and tantamount to fictionalization. My sense of this film is different. In Land of Silence and Darkness, I suggest, Herzog engages the materiality of the cinema itself, with particular emphasis on the tactile properties of the film medium and on the spectator’s sense of touch. ”14 Following such hand signals and concentrating on issues of tactility provides a key to understanding the function of the very scenes that have been stylized and so accorded “fictional” status by other commentators.
At each location, they handle a variety of display objects that are more typically exhibited at a remove from visitors. The analogy to the cinema is crucial: here, as in the museum, spectators are usually taught to hold back, to look and not touch. Depicted in this film, however, is a group of spectators who are permitted and encouraged to literally feel the displays with their hands. As a representation of touch, it is direct and seemingly obvious, which may explain why other scholars have yet to address it.