Panopticon Perspective: Visual Analysis of a Film


Bent Hamer’s movie Kitchen Stories (2003) is a Norwegian movie that is a combination of the post-war context within the research storyline of daily life practices. Kitchens are places where parts become wholes: where various ingredients could be combined and turned into a new form. In the film, space turns into a research field about a story of the growing relationship between two men, the story of post-war peoples, and the story of a scientific attempt in the movie Kitchen Stories (2003). In the visual analysis of the film, the focus is the roles and visual storytelling to analyze the power relations between characters that are an observer (Folke) and an observed (Isak). The steps of the storyline are considered to understand the roles and individual struggles by highlighting visual perspectives, and individual breaks of the gaze. Thus, composition and challenges provide a change in power relations between characters. Its cinematography gives ideas about how the tactics in daily life become a way to fight against the system and how the character improves individual solutions to cope with power in the kitchen. Overall, the analysis aims to explain the structure with the Foucault Panopticon perspective, surveillance, and gaze. Michel de Certeau took a different approach to daily life practices, in the film, ss Individual Solutions, Isak improves some tactics in daily life to struggle with the power system that is settled in his personal space.

Author Information
Semra Ay, Başkent University, Turkey

Paper Information
Conference: KAMC2023
Stream: Film Studies

This paper is part of the KAMC2023 Conference Proceedings (View)
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To cite this article:
Ay S. (2023) Panopticon Perspective: Visual Analysis of a Film ISSN: 2436-0503 – The Kyoto Conference on Arts, Media & Culture 2023: Official Conference Proceedings
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Posted by James Alexander Gordon