Stephen Dwoskin, de la personnalisation de la caméra à l’érotisme haptique : le gros plan comme révélation d’un subjectif dérangeant

Abstract

My objective was to draw a sketch of a study about a subversive cinema, through the idea of an unsettling subjectivity. Stephen Dwoskin’s films open up a particular territory within the intimate. They cause trouble by dealing with taboos, such as illness, suffering, handicap, death, a sexuality that is often violent. They spread confusion because the distinctions between genres become very ambiguous. I thought that the use of close-ups, often blurry, of the filmed faces – usually the ones belonging to loved women-was the only hint of an insane quest of the other. However, getting closer to these films, I see in them the expression of a hunt. Stephen Dwoskin remains strongly tense towards the other, in a confrontation with the camera that seduces as well as persecutes. This camera-look he is patiently awaiting like an ambushed hunter goes beyond mere voyeurism. The unbearable camera-look appears narrowly bonded to the particular length of this type of shot.