Claude Simon and the Transgressions of Modern Art pp 177-190 | Cite as
The Language of Mirrors
Chapter
Abstract
At one point in Frame Analysis Erving Goffman refers to Susan Sontag’s comments on the devices of self-reflection (such as intermittent shots of the cameraman) which Jean-Luc Godard employs in a film like ‘La Chinoise’. Sontag remarks that these devices can never fully satisfy the criterion of reflexivity since the spectator would also have to see the cameraman filming the cameraman filming the film and so on ad infinitum. Goffman generalises from this observation, adding:
Sontag only fails to note that this evidence of bad faith holds not only for Godard and not merely for tricky filmmakers but for anyone in any frame who tries to convey something about the character of the frame he is employing; the posture he thereby assumes inevitably denies awareness of the frame in which that posture is struck.2
Keywords
Emotional Empathy External Frame Narrative Fiction Transgressive Quality Woman Standing
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Notes and Reference
- 2.Erving Goffman, Frame Analysis (Harmondsworth, 1974), p. 404.Google Scholar
- 5.Ann Jefferson, The Nouveau Roman and the Poetics of Fiction (Cambridge, 1980), p. 196.Google Scholar
- 6.Lucien Dällenbach, Le Récit spéculaire (Paris, 1977), p. 18.Google Scholar
- 29.See Ernesto Sabato, Uno y el universo (Barcelona, 1981) pp. 99–100. The erosion of temporal divisions is echoed, as we have already seen, in Maria’s ‘nocturnal’ letter to Castel.Google Scholar
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© Michael J. Evans 1988