The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its poweraand potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to DAcjAn Vu, Source Code, and The Bourne Legacy, in which cinema has articulatedaand performedathe drama of inspectionas unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionageawith editing designed to draw us in and make us forget the omnipresence of the narrative cameraaextends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced asurveillancinema.aPanoptic Bureaucracy aWe are the people who make sure things happen according to plan, a says the squad leader of the ... These overlords are instead old-fashioned telepaths whose remote-control power, entirely nonelectronic, is aimed at ... flashpointsalooks in its schematic intricacy like nothing so much as a computer motherboard remediated on an iPad screen. The lurking unease raised by The Adjustment Bureau, then, is a sense that corporate self-maintenance does indeed, anbsp;...
|Publisher||:||University of Chicago Press - 2015-01-30|