ABSTRACT
The present paper revisits Jean Pierre-Meunier’s account of the social structure of film experience by adding a further term to his comparative analysis of home movies, documentaries, and films of fiction: video-selfies. Video-selfies are understood as the perfect starting point for an interpretation of the mutual relationships between authorship, protagonists, and viewer, which aims to clarify Meunier’s conception of ‘filmic identification’ critically. The analysis of the video-selfies focuses on five aspects: perception, communication, affect, space, and movement. Following through this analysis, the paper shows that Meunier’s approach can be useful not only in applying a theory of intersubjectivity to various forms of film experience, but also in drawing from the latter insights into key aspects of intersubjectivity.
