This past week we saw both an example of a Classical Hollywood text, Gilda, and one which ran as an example of a “counter-cinema,” in Godard’s Weekend. The theoretical texts we read all served as critiques of the Classical form and offering both a theorization and conceptualization of a form that could stand as a reaction or “counter.”
Metz and Mulvey discuss, at large, the importance of the spectator's identification through the three modes offered by film. Mulvey claims that watching a movie implies "identification of the ego with the object on the screen through the spectator's fascination with and recognition of his like". Godard's Weekend is an example of a film that maintains attack against the ease of spectator identification. How does a film, such as this, influence the spectator's perception of the film?
Mulvey goes on to say that the woman, "[Either she] must gracefully give way to the word, the Name of the Father and the Law, or else struggle to keep her child down with her in the half-light of the imaginary." How does this quote parallel a character like Norman in Psycho as child and a casualty of the imaginary Mulvey addresses? In regards to Mulvey's argument of "woman as bearer of meaning, man as maker of meaning", is the ending of a film like Taxi Driver (where Betsy's gaze and string of questions engage Travis) some kind of flaw in the argument that sees gradient of meaning to be lop-sided?
Brian Henderson seems to believe that Godard’s use of a tracking shot, which serves as a “species of long take,” “repudiates ‘the individualist conception of the bourgeois hero.” He goes on to say that “his camera serves no individual and prefers none to another.” Can this be attributed to Godard’s avoidance of “depth,” and the resulting “flatness” of the film? Why is this flatness privileged by Henderson as Godard extends beyond this within the film? On page 60 Henderson seems to celebrate that like “the method of montage,” Godard’s sequences offer points where “what is done in one shot may be undone, or complemented, by another.” Is this reading of Godard’s text contradictory or do you believe Godard’s camera-style to be at work within “the method of montage”?
In films considered Classical Hollywood Cinema, such as Gilda and Vertigo, theorists like Mulvey find that women function from a position of objectification, whereas, men are given a privileged subject positioning. Do these films target the male spectator as their audience in order to reinforce male identification with the narrative protagonists? What about the already constituted subjectivity of the individual spectator? Do individuals other than heterosexual males (women, gay men, etc.) problematize the systems and codes of classical Hollywood visual pleasure?
Finally, Mulvey, Wollen, and Henderson (who emphasizes that “the flatness of Weekend must not be analyzed only in itself but in regard to the previous modes of bourgeois self-presentment”) seem to seek but constrain their arguments for a different mode of cinema that serves as a “counter” or reaction to the dominant mode. What are the implications of revolutionary filmmaking as serving in relation to the dominant mode of representation? Can these reactionary methods actually work to subvert the hegemonic values of classical narrative cinema, or as reactions can they only serve to legitimize and strengthen the dominant form?