Abstract
Anàlisi is a science journal published by the Journalism and Communication Sciences Department of the Autonomous University of Barcelona (UAB). The journal has been published by the UAB Journalism Department since 1980. Anàlisi publishes science articles in the fields of the communication sciences: journalism, advertising and public relations, audiovisual communication, internet, multimedia and similar areas, always from the social and cultural viewpoint and following the theoretical and methodological approaches of the media studies disciplines. Anàlisi will especially value articles from competitive research projects, with a clear articulation of theory and methodology, a well-defined and up-to-date theoretical framework, and proposed as a significant contribution to their subject area and field.
Highlights
In this article I will analyze a linguistic and stylistic figure which I consider characteristic of contemporary audiovisual media; I will call it «first person shot»1
First person shot represents the transformation of the classical figure of point of view shot –or subjective shot, within the contemporary intermedia network
The epistemological premise of my argument is that the figures of style are at the crossroad between two kinds of phenomena
Summary
In this article I will analyze a linguistic and stylistic figure which I consider characteristic of contemporary audiovisual media; I will call it «first person shot»1. They refer to some technologies which made possible their origin; on the other hand, the figures of style express abstract theoretical concepts in sensorial forms; in other words, they are figures of thought. This epistemological premise is needed to understand my analysis of first person shot. In the second part of the article I will consider the first person shot as a figure of thought; I will argue that it urges film and media theory to rethink its idea of subject and subjectivity (i.e. subjective identity formation and expression), in order to shift from a “locative”, “positional” and static conception of the subject to a dynamic, “dis-positional” and “dis-locative” one
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