This session is devoted to the myth of overall vision and its dialectic appropriation by filmmakers and visual artists. The idea of the panopticon emerged in the late 18th century, initially referring to the architectural solution for a prison, where all the prisoners are observed by a single guard whom they cannot see: the invisible omniscience of power. In the 20th century, philosopher Michel Foucault defined panopticism as the model of a “disciplinary society” that uses general surveillance to direct conduct. Here, the media of modern optics, image technologies and the cinema offer the pretext of a panoptical look that stares into a gaping abyss. 360° panoramic views, subjective cameras, video surveillance images and multiscreens offer a Pandora’s box of highly poetic, delirious ramblings and recreations of the landscape.
- Stick Climbing, Daniel Zimmermann, Àustria, 2010, 35 mm, 14 min
- Domenica 6 Aprile, ore 11:42, Flatform, Itàlia, 2008, vídeo, 6 min
- Gardening, Claudio Sinatti, Itàlia, 2000, vídeo, 14 min
- Hus, Inger Lise Hansen, Noruega, 1998, 16 mm, 7 min 30 s
- 31/75 Asyl, Kurt Kren, Àustria, 1975, 16 mm, 8 min 30 s
- New Book, Zbigniew Rybczynski, Polònia, 1975, 10 min
- Kaizer, Kotaro Tanaka, Japó, 2006, vídeo, 10 min
- Elements, Dariusz Krzeczek, Àustria, 2005, 35 mm, 7 min.
