Daniel,
I had the oppotunity to discuss your point at length with Luc Dardenne.
This was very interesting. I still have to go through the recorded
discussion to make a summary because he had a quite elaborated point of
view about it.
For example, one point that emerged is that, in Le Fils, the camera is
taking the place of an absent character, a kind of ghost (i don't want
to develop this now because it would give too much clue for people who
don't have seen the film yet).
About transsubjectivity and transhumanity, you can also have a look at
my reply to Ross.
Regards,
Pascal
D F wrote:
> Thanks Pascal for your angle on the Dardennes -- I largely agree that
> the most interesting way to understand _Rosetta_ is via a concept of
> film-thinking. I say film-thinking rather than 'subjectivity' because
> I don't see film's thinking as analogous with human thinking, but
> rather it might be seen as transsubjective thinking.
>
> For me _Rosetta_ thinks a pure, bold, empathical relationship to the
> girl, becoming almost an invisible twin -- never giving her
> point-of-view, but *feeling* (matching) her life from right beside
> and behind her.
>
> And perhaps ask Luc Dardenne exactly this, does he feel that film
> (movement, focus, framing, sound) thinks its own (trans)subjective
> personality?
>
> all the best,
>
> Daniel.
>
>
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