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Complicated Views: Mainstream Cinema's Representation of Non University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. the late 1950s) to the present day. The films featured in the study emerge from a variety of genres, countries and budget, while remaining within a “mainstream” classification, by which I mean films which generally secured a significant theatrical release. Across four chapters I examine films which feature the following non-cinematic moving image technologies: “sub-gauge” film; “live” video, including CCTV and television; “home” or analogue video; digital video. Each chapter briefly outlines the origins, standard usages and aesthetic characteristics of the technology, before progressing to case studies of individual films which utilise or reference these technologies to a significant effect. Each considers the ways in which films and filmmakers utilise characteristics of “alternate” media to transform narrative delivery and development, or to comment on some of the aesthetic aspects of either the incorporated medium, or film itself. The thesis argues that such films incorporate media in ways which either remediates or transforms their products, through film, or in doing so, comments on cinema. The technologies featured have been chosen as significant contributors to the emerging total image economy of developed societies throughout the latter half of the twentieth century. The study examines the ways in which their impact on society, culture and media industries is framed within films which feature their products and/or practices. In the final chapter this analysis is applied to the contemporary debate regarding the destabilising effect of digital image technologies on the ontology and long-term viability of cinema, by placing such debates with a longer-term context of a debate within film regarding the impact a variety of alternate image technologies. Research Thesis: Declaration of Authorship Eliot Blades Print name: Complicated Views: Mainstream Cinema’s Representation of Non- Title of thesis: Cinematic Audio/Visual Technologies after Television. I declare that this thesis and the work presented in it is my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly or mainly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Either none of this work has been published before submission, or parts of this work have been published as: [please list references below]: ____________________________________________________________________________________ Signature: Date: Acknowledgements The author would like to thank thesis supervisors Dr. Michael Hammond and Dr. Malcolm Cook for their advice, guidance and support during the research and production of this work. Table of Contents Introduction ....................................................................................................................................... 1 “Alternate” Media ........................................................................................................................ 4 “Narrative Incorporation” ........................................................................................................... 8 Framing....................................................................................................................................... 9 Character Interaction ............................................................................................................... 10 Chronology ............................................................................................................................... 10 “Format Specificity” ................................................................................................................... 12 Format Markers ........................................................................................................................ 12 Interfaces................................................................................................................................... 13 Distribution ............................................................................................................................... 14 Research Questions and Methodology ...................................................................................... 16 Prior Work in this Area - Narrative .......................................................................................... 20 Prior Work in this Area – Format Specificity .......................................................................... 26 Summary ...................................................................................................................................... 31 Introduction ................................................................................................................................. 35 Establishing a Standard – 35mm ........................................................................................... 35 The Development of Sub-Gauge Film Stocks ....................................................................... 36 Sub-Gauge Stock in Practice .................................................................................................. 37 Peeping Tom (Michael Powell, 1960) ..................................................................................... 43 Amateur vs Professional Practice in Amator (Krzysztof Kieslowski, 1979) ....................... 52 Part 2 – Format Specificity ........................................................................................................ 59 Small-Gauge Formats in Practice – Newsreel, Documentary and Journalism ................. 61 The Entertainment Documentary – “Mondo” and L’Occhio Selvaggio (Paolo Cavara, 1967) ......................................................................................................................................... 65 Cannibal Holocaust (Ruggero Deodato, 1980) ...................................................................... 74 Conclusion ................................................................................................................................... 85 Chapter 2: “Live” Video ................................................................................................................ 87 Introduction ................................................................................................................................. 87 Brief History of “Live” Video ................................................................................................ 88 Qualities of “Live” Video ....................................................................................................... 92 Part 1 – Narrative Incorporation .............................................................................................. 95 The Truman Show (Peter Weir, 1998) ................................................................................... 95 On Television/In Television – Edtv (Ron Howard, 1999) & Pleasantville (Gary Ross, 1998) ....................................................................................................................................... 104 CCTV – a Brief Introduction ..............................................................................................
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