Exploring Modes of Surveillance in Films

This article frames a theoretical discussion of cinematic gestures in their opposing forms, illusionism and reflexivity, exploring different modes connecting surveillance film. One observes cinema as an illusionistic surveilling machine that records reality. In this respect, can be “element movie plots.” Then, given the simultaneously entrapped swaying nature gestures, investigation film reflexivity associated with reveals dual character. The dominant one (auto-mediacy), although guided by subversive thrust, ultimately reinforces dynamics internal panopticon, regulation, marketization self. Conversely, another form emancipative self-reflexivity (autoscopia) operates set enunciations exalting filmmaking process’ materiality. Grizzly Man is example autoscopia generating technology-mediated self examination.