Quote:
Originally Posted by Wimli
Of course all films appeal to the senses, but you're talking about something else. What I meant is that in recent decades directors have targeted the senses more directly by foregoing or disrupting classic/rational/logic narrative. Visuals and sounds are used to stir certain emotions (through the senses) unrelated to story and narrative. But this is getting to much into postmodern film territory, and maybe we should stay clear of that area.  |
I'm not so sure that just by foregoing onr disrupting classic/rational/logic narrative that that equals an appeal to the senses. There has to be techniques that the filmmakers are using that make that appeal. It IS the case that directors like Darren Aronofsky and David Lynch use experimental aural and visual techniques to distance and objectify the viewer. However, classic Hollywood films (films with conventional narratives) targeted the senses in different ways. Take, for example, the case of any classic Hollywood film starring a famous and beautiful Hollywood persona. With warm lighting and close-ups, I have found that some of the most visceral experiences I have had watching movies have occurred while watching films with conventional narratives. These camera techniques were used to help the viewer more closely identify with the characters onscreen. So there are two different appeals that we are talking about here: the one you are talking about is more of an objectifying technique, the one I am talking about is a subjectifying technique.
