Spectatorship and affective investment in La Vis

IF 0.1 0 FILM, RADIO, TELEVISION

Short Film Studies Pub Date : 2021-01-01 DOI:10.1386/sfs_00029_1

Richard Neupert

引用次数: 0

Abstract

The narrative strategies at work within La Vis challenge viewers to construct an empathetic protagonist, even from challenging, parodic cues. Ultimately, Didier Flamand’s film is as much about how we watch films as it is about a fellow irritated by a faulty screw.

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拉维斯的观众和情感投资

《拉维斯》的叙事策略要求观众构建一个有同理心的主角，即使是通过具有挑战性的模仿线索。最终，迪迪埃·弗拉芒的这部电影不仅是关于一个被坏螺丝惹恼的家伙，也是关于我们如何看电影的。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Short Film Studies FILM, RADIO, TELEVISION-

CiteScore

0.20

自引率

0.00%

发文量

期刊介绍： The main purposes of SFS are: To stimulate ongoing research on individual short films as a basis for a better understanding of the art form To provide a flow of cutting-edge teaching materials that can be used in courses in which short films are either studied or produced, at film schools or universities To offer fresh inspiration to filmmakers and other professionals working with short films in connection with festivals, national film institutes, regional film centres, etc. While the principal focus is on the short fiction film, other classic forms – such as the short documentary, the short experimental film and the short animation film – are also covered from time to time. In each issue, two productions are singled out for comprehensive presentation and close study. For each film, the reader will find production data, an interview with the director, a shot-by-shot breakdown of the film with a still illustrating every shot, a number of peer-reviewed articles that illuminate the film from a variety of perspectives and a link enabling subscribers to view the film.