Morality, technology, Truth

February 8, 2007 § Leave a comment

Bright Lights Film Journal | Bleeding Realism Dry (1)

That the first such film, Roberta Findlay’s X-rated Snuff
(1976), spliced a phony verité murder scene into an unrelated Argentine crime film and promoted it as real only proved realism’s hypocritical machinations. In Snuff, the cinema’s unsteady truth is reproduced by cues of realism audiences had already been conditioned to expect: the wobbly handheld camera whose dismissal of the tripod and exaggerated bounces are absurdly equated with the realism of “natural,” motile vision, and a seamless, mise en scene presentation of blood unaided and unobscured by guileful montage. Because we laugh at the transparent suture of Mary Queen of Scots’s beheading, we should be shocked when the death gesture is accomplished without the benefit of a montage-based system which unconsciously deludes us but of which we in our wiser moments are suspicious — the formal technology shocks, not the violence in itself.
(emphasis added)

Exactly what i had in mind here. One should not confuse morality with pixellisation.

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