The Cinematic Space of Anxiety

• Autores: Nuno Miguel Alão Soares Gomes, Carlos Manuel Almeida Figueiredo
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 745-753
• Idioma: inglés
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• Resumen

  • Seemingly contradictory statements such as Godard - the cinema is the truth at 24 frames per second (Merten,2011) - and Fassbinder - the film is a lie at 24 frames per second - (Merten, 2011) seem to be irreconcilable.However, if we replace the word “lie” with “illusion”, it seems to emerge a meaning from these statements.The film’s viewer feels sensations and emotions that are real to him-self, even if they are induced by means of anexperienced fictional narrative. Among the most frequently induced emotions is anxiety that announces an imminentexperience of an unknown nature.The idea of “premonition” of impending unrest convinced of something imminent, in an approach of a sense of awethat is closely related to anxiety. Fundamental in the suspense film and its narrative, it affects the way of feeling.Anxiety intends to convey anticipation of an event that extends forward in time, that is guessed but delayed, and ofwhich the outcome is unknown but is presumed to be adverse. The viewer perceives the close proximity of dangerand adversity, in an agony that extends in time.Analyzing three thrillers, “The Shining” from Kubrik, “Cape Fear” of Scorcese and “Vertigo” of Hitchcock, it isapparent the construction of space to build tension, created by the design of scenery, light, camera angle andcomposition, in the synthetic construction of the space and progress of the action which takes place in it, alongsequences of suspense and anxiety.