The first blow against the monolithic accumulation of traditional film conveftions (already undertaken by radical filmmakers) is to free the look of the camera and its materiality in time and space and the look of the audience into dialectics and passionate detachment. Thre is not doubt that this destroys the satisfaction, pleasure and privilege of the “invisible guest,” and highlights the way film has depended on voyeaurtic active/passive mechanisms. Women, whose image has continually been solen and used for this end, cannot view the decline of the traditional film form with anything more than sentimental regret. 47
Integrating Theory, Practice & Politics