from the outside

Gerade habe ich entdeckt, dass David Phelps in dem wundervollen Capricci-Cukor-Buch ausführlich über genau jene Einstellungen geschrieben hat, die ich gestern hier eingestellt hatte:

(...) and in the most escalated moments of hysteria, one chases the other into the foreground, both facing forward as if trapped against the screen, their despair assured by the comprehension that, this close to the camera, there's nowhere to go (...) Still framesattest to Cukor's newfound love for the motiv in subsequent films [after Edward, My Son] - one charakter jammed against the camera without recourse from the harassment of a charakter just behind. (...) What Cukor seems out to capture, then, is the fluctuations rather than anything like idealistic poses (...) the confrontation of the charakters with their own buried emotions and outer torments becomes a confrontation directly with the camera too (...) what we watch is less an unmasking than its opposite, a measured sort of suppression seen from the outside (...)