Bigger Than Life beyond perspective

I’ve been reading Bigger Than Life: The Close-Up and Scale in the Cinema by Mary Ann Doane, published in 2021 by Duke University Press. It’s a fascinating discussion of the spatial organisation of cinematic film – both classic and avant-garde – and the spaces offered to the spectators of those films. Her discussions of those films are always interesting, and make a distinctive contribution to the current discussions about three-dimensionality, scale and zoom in film and other media.

However, the book feels on much less certain ground when it touches on more recent digital media. These are mentioned quite often but they aren’t really theorised in the way that Hollywood movies or Shanghai cinema or New York experimental films are. I think this is partly a consequence of Doane’s continuing commitment to psychoanalysis as a valuable toolkit for understanding the subjectivation of the movie spectator – and psychoanalysis doesn’t seem to work in quite the same way for digital media, which, as Doane often says, are often viewed on small screens, on the move rather than in a cinema seat, with different kinds of attention from movies seen in a cinema.

Also though, I think the book struggles with digital media because of its focus on the perspectival organisation of filmic space. Doane elaborates this at length and very helpfully. She describes the alignment of the movie camera with the eye as imagined in Renaissance theories of perspective as a technique to represent three-dimensional space on two-dimensional surfaces at some length. This is really helpful, and generates some great insights into different understandings of visual media as ‘immersive’, for example, and different kinds of vanishing points and horizons, and bodies ‘turning’ in 2D space.

As the book progresses, though, an account seems to emerge of digital media (whether on a phone screen or on an IMAX screen) as purely abstract forms of space, as erasing real bodies and geographies (Doane doesn’t use the word ‘real’ of course, but that is the implication). She argues that engaging with digital media means that the spectator becomes delocalised, disoriented, and sucked into the apparently entirely commodified world of social media. Putting to one side the assumptions that social media do nothing but commodify, and that phone screens and IMAX screens do similar things because both are digital: I think this argument only holds because Doane theorises just one form of spatial organisation in relation to filmic images and their viewers, that of perspective. It’s as if the psychoanalytically-grounded alignment of subjectivity with the perspectival organisation of space becomes the only way in which subjectivities might emerge in relation to film. Take away that space, and according to Doane, the subject floats untethered too, defined only by their online data.

But what if perspective is not the only technique for organising the space of an image, filmic or otherwise? It certainly isn’t the only way that films screened on phones, say, are spatialised; those phones are constantly producing geolocated data which do locate their users, by latitude and longitude – they are very much not delocalised, quite the opposite in fact. Indeed, given Doane’s own discussion about the emergence of perspective (and latitude and longitude) alongside capitalist property ownership and colonialism, more attention to other forms of spatial organisation is definitely in order. For example, while I largely share her critique of affect theory and phenomenology in visual studies, I wouldn’t dismiss space as atmosphere quite so quickly. And what about space as network? Or topological spaces.

In short, what other sorts of spaces might be seen in films, beyond perspective? And what might their seeing do to who is doing the seeing? As film-like imagery proliferates digitally, its specific and various forms spatial organisation need more attention.

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