> I haven't read the correspondence on 'subjective camera',
> nonetheless the opening scenes from Halloween (as I remember them
> from some 30 years ago) do seem intended to converge the
> perspectives of camera and viewer so that the viewer is looking from
> the perspective of the camera. Yet I would think this is more a
> 'human' perspective given to the camera than a subjective one. It is
> the perspective taken when, in numerous films, the camera/someone is
> watching a protagonist - often done by 'seeing' through a partially
> transparent obstacle like the leaves of a tree, shrubbery, etc. To
> my eyes, the shift from the 'mechanical' gaze of the camera to a
> human one is striking, and most often signifies a living (not always
> human) watcher in the position of the camera.
Don Handelman
>
> Date: Wed, 7 Oct 2009 08:20:25 +0200
> From: Hrvoje Turkovic <[log in to unmask]>
> Subject: Re: Subjective camera
>
>
> Introductory sequence in Carpenter's Halloween.
>
> But, be cautious: what is 'subjective' is not camera but view -
> subjective view. When watching a represented scene (diegetic space),
> we (spectators) are not watching camera watching the scene, but are
> taking up the view of the scene that is offered by film (by a shot,
> or by a scene - the part of film discourse, film composition), not by
> camera, and, in the case of subjective view, the view is ascribed not
> to the camera, but to the implied (or contextualy showed) digetic
> character. Imputing, ascribing the view offered by shot, or sequence
> of shots, to the camera (mechanical means of recording taking)
> requires special contextual indication strategies, which are mostly
> not like those required in ascribing a view to the character.
>
> Hrvoje
>
>
>
>
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