| Abstrakt: |
Even without considering contemporary horror genres specifically dedicated to the technological gaze (Paranormal Activity [2007], The Blair Witch Project [1999], VHS [2012]) and "found-footage" movies, the gaze is always, already part of screen practice - the camera views, and we watch. Though Scandinavia is reputed for its ambitious and innovative film tradition, film scholarship has largely ignored women's bold contributions to the canon. If indeed film is, to use Raymond Williams' term, a form of "collective cultural expression" (1998), then the prevalence of surveillance practices in the horror genre speaks to our cultural concerns about such surveillant practices and their possible implications on the subjective and corporeal. [Extracted from the article] |
