Studies of film spectatorship and production techniques have rarely ignored notions of Reality. From the psychoanalytical approaches of Baudry and Metz to the auditory spaces of Doane, approaches to film reception have primarily focused on the methods and rationale behind a spectator’s investment in the reality of the spectacle. Additionally specific techniques that assist in aligning character with spectator have been explored from both visual and auditory perspectives. Sound and music in particular are able to bring spectators into the emotional ‘space’ of a character, while ocular techniques that invoke points of view visually align the observer and observed. In essence, these techniques attempt to reflect an emotional ‘truth’ inherent in the unfolding of the narrative and related to the experience of its main players. Current trends in film and television production styles have favoured the use of aesthetics associated with prosumer and social media productions. These aesthetics, including handheld shaky-cam, variable audio and open acknowledgement of the camera, have been utilised for their ability to imitate ‘reality’, to take away a little of the polish of professional film and television production and to inject the raw, ad hoc immediacy of actuality. Yet an emotional connection between a film and its spectator cannot be disregarded, and indeed represents another form of reality in film: that of emotional realism. Through a close analysis of Matt Reeves' Cloverfield (2008) and Pete Travis' Vantage Point (2008), this paper explores the function of prosumer and social media aesthetics in the representation these two filmic ‘truths’ and examines its effectiveness as both a mimic of actuality and conduit of emotional realism.
Celia Lam, The University of Notre Dame Australia, Australia
This paper is part of the FilmAsia2013 Conference Proceedings (View)
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