ABSTRACT
Beckett's Film and television plays incarnate an intense scopophilia , or visual desire, through their use of the camera and framing strategies. By presenting the body image as visible surface for the purposes of observation, these works self-consciously reflect the viewer's gaze back at them. While they explore the screen as an arena where the 'eye of prey' seeks to possess its objects, Film and the television drama also constitute a dynamic body system fractured and dispersed between seer and seen. The rejection of narrative film, continuous sound track and visual spectacle places Beckett's Film firmly in the experimental film camp. Beckett's work for the visual media explores the dynamic, framing and reframing body semblances of self and other. Beckett's subsequent media plays take further the denaturalization of embodiment and vision, disarticulating image and voice. The way in which the body is framed, what is in or out of frame, becomes part of the interrogation of looking.
