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Closed Circuits: Screening Narrative Surveillance
University of Chicago Press, 2015 Paper: 978-0-226-20149-8 | eISBN: 978-0-226-20135-1 | Cloth: 978-0-226-20121-4 Library of Congress Classification PN1995.9.E38S74 2015 Dewey Decimal Classification 791.430973
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power—and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.” See other books on: Film | Film & Video | History & Criticism | Motion pictures | Stewart, Garrett See other titles from University of Chicago Press |
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Closed Circuits: Screening Narrative Surveillance
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
University of Chicago Press, 2015
Paper: 978-0-226-20149-8
eISBN: 978-0-226-20135-1
Cloth: 978-0-226-20121-4
Paper: 978-0-226-20149-8
eISBN: 978-0-226-20135-1
Cloth: 978-0-226-20121-4
The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power—and potential for abuse.
In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.”
In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.”
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
