2833 KB48 KB197820252020Zorman, Barbaraštevilka:1letnik:43str. 75-95ISSN:0351-1189COBISSID_HOST:18180867URN:URN:NBN:SI:doc-KTXGKYQTslSlovensko društvo za primerjalno književnostPrimerjalna književnostBIček, Rokcognitive scienceface on filmfilm charactersfilm theoryfilmska teorijafilmski likikognitivna znanostmaskmaskanaratologijanarratologyobraz v filmuSlovenian filmslovenski filmObraz v velikem planu in pripovedna transparentnost|In its first part, the article compares various theoretical insights into the topic, beginning with Balázs' claim that the magnification and proximity of the face in close-up replace narrative movement, i.e. action, with micromovement that represents subjectivity. For Deleuze, the face in close-up is deterritorialized into the "feeling-thing", the entity as the set-up of the affect. For Deleuze, the close-up abstracts the face from its bearer. Furthermore, the film face as a mask is presented (Barthes). Besides the metaphor of the cinema as a mirror within psychoanalytical film theory, the insights of the cognitive film theory are analyzed, particularly the function of the face in the "scenes of empathy" (Plantinga). The second part examines the role of the face in Rok Biček's first feature film Razredni sovražnik (Class Enemy, 2013), which presents the revolt of a class against an authoritative teacher following the suicide of their classmate Sabina. This film exposes the opaqueness of the face most notably in the representation of Sabina's face, particularly as it is presented within the context of her friend's mental images, memories. But the mysteriousness of her face is most prominent in the masks created from the photography of Sabina's face that her classmates put on in an act of rebellion against their teacher. Sabina's face is the film's blind spot: although completely exposed to our gaze, its meaning remains ambiguous, even unattainable. Such representation seems to reject the face as "an instrument of signification" (Eleftheriotis)V prvem delu prispevka primerjam različne teoretske poglede na funkcije obraza v filmskem velikem planu. Balázs meni, da spričo povečave prikazanega obraza, ki vzbuja občutek intenzivne bližine, nastane premik v naraciji iz dogajalnega gibanja v mikrogibanje. Deleuze izpostavi veliki plan kot entiteto (ločeno od prostorsko-časovnih koordinat, iz katerih izhaja), kjer obrazni izraz postane nosilec afekta, obenem pa obraz izgubi funkcije individualizacije, socializacije in komunikacije, ki so ga predhodno opredeljevale. Barthes piše o obrazu filmske zvezde v vlogi maske, Greco pa o vplivu pogleda, ki ga maska iz ekrana usmerja v gledalca. Plantinga analizira vlogo obraza v "prizorih empatije". V drugem delu članka analiziram film Roka Bička Razredni sovražnik (2013). Netransparentnost obraza se izraža najočitneje pri reprezentaciji lika Sabine, ki sošolce pretrese s samomorom. Nedostopnost Sabinine subjektivnosti predstavljajo bližnji prikazi njenega obraza v kontekstu spominskih predstav njene prijateljice in maske, ustvarjene po fotografiji Sabininega obraza, ki si jih nadenejo njeni sošolci. Sabinin obraz je slepa pega filmske pripovedi; čeprav se pred nami razkriva scela, je njegov pomen odprt, nedoumljiv. Eden od učinkov takega prikaza je zavrnitev obraza kot "znakovnega instrumenta" (Eleftheriotis) oziroma kot transparentne površine, hkrati pa tudi zavrnitev prisvajanja oziroma redukcije skrivnostne drugosti obrazov bližnjih na berljive emocije oziroma afekteTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost