{"title":"The Status of the Close-Up in the Age of the Selfie","authors":"Manuel Betancourt","doi":"10.1525/fq.2022.76.1.75","DOIUrl":null,"url":null,"abstract":"FQ columnist Manuel Betancourt ponders the power of the cinematic close-up in an era when the screened face is a ubiquitous presence on phones in selfies, front-facing videos, and Zoom grids alike. Taking Roland Barthes and Argentine writer Manuel Puig’s reverence for the faces of the silver screen sirens of Classical Hollywood as his starting point, Betancourt discusses the focus on the face in two recent films: the Mexican film Dos estaciones (Juan Pablo González, 2022) and the Chilean film Vendrá la muerte y tendrá tus ojos (Death Will Come and Shall Have Your Eyes, José Luis Torres Leiva, 2019). Although they have little in common thematically or aesthetically, both films share a focus on older queer female protagonists along with the visual grammar of the face, allowing Betancourt to appreciate the power of the close-up anew.","PeriodicalId":45540,"journal":{"name":"FILM QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.6000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"FILM QUARTERLY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1525/fq.2022.76.1.75","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
FQ columnist Manuel Betancourt ponders the power of the cinematic close-up in an era when the screened face is a ubiquitous presence on phones in selfies, front-facing videos, and Zoom grids alike. Taking Roland Barthes and Argentine writer Manuel Puig’s reverence for the faces of the silver screen sirens of Classical Hollywood as his starting point, Betancourt discusses the focus on the face in two recent films: the Mexican film Dos estaciones (Juan Pablo González, 2022) and the Chilean film Vendrá la muerte y tendrá tus ojos (Death Will Come and Shall Have Your Eyes, José Luis Torres Leiva, 2019). Although they have little in common thematically or aesthetically, both films share a focus on older queer female protagonists along with the visual grammar of the face, allowing Betancourt to appreciate the power of the close-up anew.
期刊介绍：
Film Quarterly has been publishing substantial, peer-reviewed writing on motion pictures since 1958, earning a reputation as the most authoritative academic film journal in the United States. Its wide array of topics, perspectives, and approaches appeals to film scholars and film buffs alike. If you love all types of movies and are eager to encounter new ways of thinking about them, then Film Quarterly is the journal for you! Scholarly analyses of international cinemas, current blockbusters and Hollywood classics, documentaries, animation, and independent, avant-garde, and experimental film and video fill the pages of the journal.
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