The article focus on the new forms of the subjective image in audiovisual media, defining the "first person shot" as a new kind of post-media semiotic figure. The first-person shot appears on different occasions throughout different media, from combat videos recorded with helmet cams and distributed via the Internet to video-surveillance footage re-used in art installations, and from video clips of live events taken with video cell phones and broadcasted by television news to first-person video games, to cite just a few examples. The core of my paper is devoted to reconstructing the first-person shot’s technological and stylistic genealogy. I argue that although firmly a part of contemporary cinema, it constitutes a radically intermedial and post-cinematographic technique, since it stems from a network of “remediations” and “deep-remixes” involving different media agencies and players – from mainstream cinema to independent television and video producers, from the video-game industry to military and surveillance uses of audiovisuals. In my conclusions, I rapidly sketch two questions related to the first-person shot. First, I ask whether the first-person shot should or not be considered not just as an audio-visual technique but also as a well-defined semiotic figure. My answer is positive; moreover, I argue that a formal assessment of the first-person shot entails a new systematization of point-of-view issue within the semiotics of audiovisual media. The second question concerns the cultural foundation of the first-person shot. In this regard, I propose to consider it as a kind of “symbolic form”, implying a specific conception of the subject as a hybrid, dynamical and relational entity – an idea of the subject and sub-jectivity chiming with contemporary conceptions of phenomenological neuroscience.

Eugeni, R., Le plan à la première personne. Technologie et subjectivité dans le paysage postcinematographique, in Gaudreault, A., Lefebvre, M. (ed.), Techniques et technologies di cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Presses Universitaires de Rennes, Rennes 2015: 195- 208 [http://hdl.handle.net/10807/68117]

Le plan à la première personne. Technologie et subjectivité dans le paysage postcinematographique

Eugeni, Ruggero
2015

Abstract

The article focus on the new forms of the subjective image in audiovisual media, defining the "first person shot" as a new kind of post-media semiotic figure. The first-person shot appears on different occasions throughout different media, from combat videos recorded with helmet cams and distributed via the Internet to video-surveillance footage re-used in art installations, and from video clips of live events taken with video cell phones and broadcasted by television news to first-person video games, to cite just a few examples. The core of my paper is devoted to reconstructing the first-person shot’s technological and stylistic genealogy. I argue that although firmly a part of contemporary cinema, it constitutes a radically intermedial and post-cinematographic technique, since it stems from a network of “remediations” and “deep-remixes” involving different media agencies and players – from mainstream cinema to independent television and video producers, from the video-game industry to military and surveillance uses of audiovisuals. In my conclusions, I rapidly sketch two questions related to the first-person shot. First, I ask whether the first-person shot should or not be considered not just as an audio-visual technique but also as a well-defined semiotic figure. My answer is positive; moreover, I argue that a formal assessment of the first-person shot entails a new systematization of point-of-view issue within the semiotics of audiovisual media. The second question concerns the cultural foundation of the first-person shot. In this regard, I propose to consider it as a kind of “symbolic form”, implying a specific conception of the subject as a hybrid, dynamical and relational entity – an idea of the subject and sub-jectivity chiming with contemporary conceptions of phenomenological neuroscience.
Francese
Techniques et technologies di cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire
9782753535763
Presses Universitaires de Rennes
Eugeni, R., Le plan à la première personne. Technologie et subjectivité dans le paysage postcinematographique, in Gaudreault, A., Lefebvre, M. (ed.), Techniques et technologies di cinéma. Modalités, usages et pratiques des dispositifs cinématographiques à travers l’histoire, Presses Universitaires de Rennes, Rennes 2015: 195- 208 [http://hdl.handle.net/10807/68117]
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/10807/68117
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