with film
the lens of the camera becomes
phenomenologically
the eye of the spectator
the auteur of cinema
constructs a perceiving consciousness
whose perception
whose gaze in the language of film theory
holds film actors
–and scene—
as images of that consciousness
that consciousness is reified
in the experience of the spectator
the perception of the auteur
whose eye becomes the eye of the camera
the eye of the spectator
creates an intensified image of subjectivity
the creation of a heightened subjectivity
positions cinema as the medium of modernism
as film and video exchange techniques
in a reflexive dialogue of images
this distinction
between film as modernist
video as postmodernist
can only function as a general scheme
a framework not an accurate description