ABSTRACT
This chapter studies the instrumentalisation of the spectator’s position as enunciative device through the analysis of three works. Face aux fantômes (Jean-Louis Comolli and Sylvie Lindeperg, 2009) offers us the embodiment of an emancipated spectator to show us the possibilities of self-reflection and critical thinking from the viewing of Nuit et brouillard (Alain, Resnais, 1956). Jaurès (Vincent Dieutre, 2012) offers the immobilisation of the gaze through the daily spectatorship of refugees’ reality. Dieutre generates parataxic thinking consisting of fixing the gaze, imposing cohabitation, and preventing its mobilisation. Ailleurs, partout (Isabelle Ingold, Vivianne Perelmuter, 2020) interpellates the emancipated spectator by sharing the non-gaze of the operational images. It creates a mediated encounter between the filmmakers and their protagonist defining globalised communication.
