Abstract
Abstract“Reflexivity” is a term some film scholars use for a tendency in films, mostly from the 1960s and later, of calling attention to the fact that they are films and to the machinery and processes of staging, photographing, and editing — in short, constructing — a film. An example from the silent era is Dziga Vertov'sMan with a Movie Camera(1929), and films of Jean‐Luc Godard typify the later period, when such films proliferate. The idea is to put a distance between viewer and film, in a Brechtian spirit — to make the viewer more conscious and thoughtful about what is being presented and about how it is being presented. “Reflexivity” pits itself against a cinema of “illusion” — so the argument goes — typified by Hollywood, where the viewer is swept away and thought is suppressed.1
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