| Popis: |
This chapter explores the central- ity of the recurring theme of the meta-cinematic and the film-within-the- film as an artistic and political tool in Banietemad’s body of work. She argues that, through the meta-cinematic, Banietemad comments directly on the very concept of cinema; the films allude to their own form and this is especially significant in the way in which they challenge censorship laws. This chapter also focuses on where visualization and use of the camera as a theme and a technique can lead us. The author shows that the double-camera function not only serves as a vivid reminder of the cinematic form, but also, inevitably, tells stories. |
