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| | Serge Daney: Kapo's track-shot (Site not responding. Last check: 2007-10-19) |
 | | There are other marks: Night and Fog and Hiroshima mon amour, by Resnais, Les Contes de la pleine lune, by Mizoguchi, Week-end, by Godard. |
 | | At the origin of both Rivette and Daney texts there is the same object: Kapo, a film directed by Gillo Pontecorvo in 1960, about the concentration camps, and a certain abject camera movement: a track-shot. |
 | | It is from this point of view over the abjection in the film that Daney tries to establish a new film ontology that can isolate cinema from the field of media images, in general, and from the manipulative strategies of television images, in particular. |
| www.cecl.com.pt /rcl/english/23/rcl23-14_e.html (138 words) |
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