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Macmurdoreadingmargareta20 THE SPECTACLE AND THE WITNESS: AN HISTORICAL AND CRITICAL STUDY OF SURVEILLANCE IN VISUAL CULTURE FROM 1920 TO 2008 Margaret Ann MacMurdo-Reading A thesis submitted for the degree of Doctor of Philosophy At the University of Otago, Dunedin, New Zealand 11 July, 2013 ABSTRACT This thesis engages with surveillance as a pervasive theme presented in several modes of modern visual culture and is approached with particular reference to Guy Debord’s theory of the spectacle. Through an historically contextualized analysis, I locate the centrality of surveillance in Western culture as a visual regime that institutionalizes spectacle. This is revealed in a number of prominent events between 1920 and 2008 that illustrate ethical shifts in the historical subject in which the presence or the absence of the witness becomes a meaningful consideration. Surveillance is thus linked inextricably to two main discourses regarding the spectacle and the witness, a theme that is expanded upon through the analysis of specific films and other representations of modern visual culture, including painting and television. The spectacle within our ocularcentric society has, as I see it, not enhanced the world so much as it has separated us from it, and has thus consistently obscured instances of moral reflection by the individual in the form of witness. I link this concept to the thinking of Hannah Arendt, Walter Benjamin, Martin Heidegger and others. Starting with the 1920’s, the progressive destruction of the witness has been exemplified in Western visual culture. The problems of detachment are derived in part from Anton Kaes’ reading of Ernst Jünger’s theoretical concepts of the development of a “second consciousness” produced by the camera, the new technical “evil eye”, and Michel Foucault’s reading of the “panopticon”. The thesis draws on Thomas Mathiesen's expansion on Foucault by revisiting “the viewer society”, further addressing the distancing effects of surveillance. The second section is devoted specifically to a discussion of the Holocaust through the analysis of selected “Holocaust films”. My analysis of these films centres on their relation to memory, representation and the distinction of the embodiment of pain beginning with the witness/ survivor. The over-arching concern of the final section of this thesis is with the digital transition in visual culture and the shift away from its tradition of conceptual and contextual materiality to what is now a predominantly Internet-based digital mode, conceptualized by Katherine Hayles' work on the “post-human”. As a result, I argue that this produces further distancing between the witness and the subject. From this I conclude that the further distancing between the witness and the subject has enabled the facilitation of what appears to be a society of surveillance, a society which, for ethical reasons, needs to reinstate the witness. ii ACKNOWLEDGEMENTS Writing a PhD dissertation is not an individual task, but one taken with the support of angels who seem to appear exactly as they are needed. I include here a list of those angels and some of the ways I have been helped by them. To my two sons, Walker and Rory MacMurdo, I must say that I never would have undertaken this PhD if I did not have you guys to set an example for. Not that I ever want you to write a PhD, but that I want you to continue to be curious and carry the desire to learn throughout your lives. To my husband Mark, without your constant “services” to me, including chauffeuring me to and from University on rainy days, delivering my lunch and my phone when I’ve left them behind- you cannot imagine what a further chore this work would have been without your loving, generous support. Thank you also for asking me perfectly normal questions about my work that forced me to consider my arguments outside a rarefied atmosphere, thus making them clearer for me to write about. To the University of Otago, thank you so much for awarding me my three-year scholarship, suffice to say I could not have done it without this generous financial support. I thank especially Dr. Charles Tustin who, along with my brilliant supervisors, Professor Tim Mehigan and Dr. Simon Ryan championed me and my work all along the way. Dr. Constantin Grigorut is my hero, as it was he who brought my proposal way back in 2007 to the Dept. of Languages and Cultures in the first place, as a potential Masters candidate. Throughout my thesis writing, and especially in these final days of completing it, there have been numerous hand-written and shall we say, “mysterious” corrections scribbled throughout my thesis by my diligent supervisors. It is here that I must thank profusely my “crack-team” of supervisor translating experts–the ones in the “pods” of our offices, Anita Perkins and Peter Barton, and away from the office, when I had to photograph the corrections and post them on Facebook as photographs for deciphering, it was only through the help of Alison May, Lhizz Browne, James Dignan, Susan Herridge, Susan Craig, Fiona Bowker, Kyle Kontour and other word de-scrambling experts that I was able to finish. Other angels include pod-mates Robert Styles, Charlotte Dunn, Teri Higgins, and Kenton Storey, all of whom have played a part in rescuing me from my demons of self-doubt at one time or another, simply by being kind. Finally, thanks to my late parents, a couple of savvy college-educated writers for instilling us with the credo: “do your best, or don’t bother doing it at all”. Well, Mom and Dadden, because of you, I bothered doing it and I did my best. iii TABLE OF CONTENTS Title Page: i Abstract: ii Acknowledgements: iii Table of Contents: iv List of Figures: vi INTRODUCTION: 1 Theoretical Considerations and Conceptual Approaches: 17 SECTION ONE: 53 War, Technology and Modernity in 1920s and 1930s Visual Culture CHAPTER ONE: 54 The 1920s and 1930s Film: Modernity, Surveillance, and the Spectacular CHAPTER TWO: 73 The Proposition about Guernica: The Mechanical Eye within the Cold Sun CHAPTER THREE: 100 Triumph of the Will / Triumph des Willens: Triumph of Ideology SECTION TWO: 127 The Role of the Witness and Testimony in Films Regarding the Holocaust after Bilderverbot CHAPTER FOUR: 128 “Representation as Witness: The Inception of Memory of the Camps /F3080” CHAPTER FIVE: 160 From the Panopticon to the Synopticon: Televising the Trial of Adolf Eichmann; The Legitimisation of the New Visual Regime CHAPTER SIX: 191 The Pawnbroker, Memory as Witness CHAPTER SEVEN: 215 Ethical Representation and the Witness: Shoah versus Schindler’s List, A Question of Eras, not Error iv SECTION THREE: 233 Truth and Consequences in the Digital Turn: The Dawning of a “Third Consciousness” in a Surveillance Society CHAPTER EIGHT: 234 “Standard Operating Procedure: Discourse on Digital Reproduction and the Abu Ghraib Prison Photographs” CHAPTER NINE: 251 “Red Road and Caché (Hidden): Surveillance and the Emergence of a ‘Third Consciousness’” CONCLUSION: 285 “The Spectacle and the Witness Revisited” Bibliography: 289 Filmography: 308 v List of Figures Chapter One: Figure 1: Screen shot of the map sequence in “M”. 53 Figure 2: Screen shot of a street scene, shot from above in “M”. 54 Figure 3: Children playing in the street, surveillance view shot from above in “M”. 56 Figure 4: Lang uses superimposition to infer power in “Dr. Mabuse der Spieler”. 59 Figure 5: The voice behind the curtain from “The Testament of Dr. Mabuse”. 65 Figure 6: Voyeurism through the closet in “The Thousand Eyes of Dr. Mabuse”. 69 Chapter Two: Figure 1: An incandescent light bulb within a mechanical looking eye-shaped sun 73 in the top centre section of the mural “Guernica” by Picasso. Figure 2: Pablo Picasso’s Guernica, (1937). 77 Figure 3: The middle area of the mural Guernica, mechanical eye within the sun. 84 Figure 4: Goshka Macuga’s woven Tapestry depicting Picasso’s “Guernica” 94 Chapter Three: Figure 1: The shadow of Hitler’s airplane flying above Nuremburg as Nazi 100 Troops march to the 1934 Nazi Party Rally. Figure 2: The Paris World’s Fair, 1937. 101 Figure 3: Still shot of mass crowds from “Triumph of the Will”. 101 Figure 4: The Russian and German exhibition halls compete in size, strength 102 and architectural posturing. Figure 5: The clouds part for Hitler’s plane in “Triumph of the Will”. 111 Figure 6: From above, the masses take on the look of indeterminate shapes. 113 Chapter Four: Figure 1: Bergen-Belsen, piles of dead bodies await burial in mass graves. 152 Figure 2: Woman inmate kisses the hand of an Allied photographer. 153 Figure 3: The corpses of inmates seemingly framed in a crucifixion pose. 154 Figure 4: Bergen-Belsen, corpsesof inmates piled in a mass grave. 155 Figure 5: British Army Bulldozer pushes bodies into a mass grave. 156 Figure 6: Camp inmate reduced by starvation to a living skeleton 157 Figure 7: Two very young girls (inmates) recovering at Camp 2. 158 Figure 8: Women inmates use a mobile bath unit grateful for hot water. 159 Chapter Five: Figure 1: The Prosecution team in the trial of Adolf Eichmann. 167 Figure 2: Israeli citizens listening to the Eichmann trial on transistor radios. 169 vi Figure 3: Eichmann Trial: Milton Fruchtman in the videotaping control room. 176 Figure 4: Eichmann in a bullet proof glass booth. 180 Figure 5: Eichmann undergoing a physical examination is watched by a guard. 190 Chapter Six: Figure 1: Sol Nazerman behind the pawnbroker’s cage in “The Pawnbroker”. 191 Figure 2: Sol Nazerman’s memory “flashback” of being in a concentration camp. 196 Figure 3: An idyllic memory in the opening scene of “The Pawnbroker”.
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