| Abstract [eng] |
The aim of the research was to establish a semiotic approach to observational documentary cinema. In an attempt to follow the traces of film enunciation, intersubjective relations and the ethics of the Other are explored. In order to perform the study, different approaches are used: theories on the genre of observational documentary film by Roger Sandall, Colin Young, Bill Nichols; the models of film enunciation by Christian Metz, Francesco Casetti and others; the ethics of Emmanuel Levinas. By following the traces of film enunciation, the problematics of intersubjectivity and ethics are established. The results show that the traces of film enunciation in observational documentaries can be followed through various aspects of visual expression – the choice of distance, framing, montage and other aesthetic aspects – and recreated by the broader context (interviews with the filmmakers, texts by film critics). The research has shown that the aesthetic dimension of the film is directly linked to its ethical issues: depending on the intersubjective, and therefore ethical, relationship that the filmmaker creates with the subject and/or the viewer, the film’s aesthetic features, its representational modes, the distinction between being and knowing changes. Based on Levinas’ ethics of the Other, an immanent model of the director’s relationship with the subject and the viewer is proposed. It is concluded that the exploration of the link between the ethics of documentary filmmaking and the ethics of intersubjectivity enables the development of attentive viewing skills to the concreteness of the film. The development of film criticism that is sensitive to the intersubjectivity of interactions inside of a film can be explored. |
