Abstract
In Fellini, it is the present, the parade of presents that pass, which constitutes the danse macabre. They run, but to the tomb, not towards the future […]1 […] but their joint gaze meets a specular void.2 The tempting analogy between the camera and the human eye has erupted at several crucial points in the history of film studies. In what might be considered the inaugural moment of ‘gaze theory’ in 1923, the Russian director Dziga Vertov advocated the liberation of the camera – what he called the ‘kino-eye’ – from the human eye, proposing that cinema explores positions and perspectives that go beyond the limits of the human point of view. ‘Until now’, he wrote, ‘we have violated the movie camera and forced it to copy the work of our eye […] Starting today we are liberating the camera and making it work in the opposite...
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