During Week 2 extensive discussion was made around the notion of cinematic immersion and the premise of ‘feeling film’ One reading which caught my attention was Denson, S 2013, Crazy Cameras, Decorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect. Denson primarily explored the ideas of Digital film and how modern day film-makers utilise technologies such as 3D, post effect and breaks in the 4th wall (awareness of the camera), to shortcut the viewers autonomic nervous system in order to make the experience more immersive. This notion of overtly situating the viewer within unprecedented spectator position creates a degree of embodied subjectivity. Following this reading I sourced a copy of District 9 (2009) to investigate how Peter Jackson utilised this form of film-making.

Denson (2013)

One of the opening shots in the film is of protagonist, Wikus van de Merwe was being interviewed by a News/Documentary style team. The audience of the film is automatically situated behind the camera with the ‘crew’ as Wikus van de Merwe casually speaks directly towards the camera regarding individuals in his workspace (behind) and the lapel microphone in which he is adjusting.

Wikus Van de Merwe adjusting Lapel

This kind of direct shot is used throughout the first section of the film, however as the storyline evolves Jackson takes on a much more standardised cinematic approach, occasionally interjecting news style and raw street footage edits (as seen below) I feel this slow drip approach was taken as the audience will have become much more invested/immersed within the storyline/narrative as the film progressed. Unless actively aware the audience wouldn’t have picked on the shift in the editing process.

News Style Footage interjected between Raid Scenes

Security Camera Footage

 

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