Contempt is a movie with a dynamic sexuality, and a movie with a strong inclination to narcissistic display. Do you agree that the scene with Camille and Paul celebrates desirability by utilizing the "visual dimensions" that Bersani and Dutoit discuss in their article "Forming Couples: Godard's Contempt"? Does the fact that Camille's whole body never occupies the screen disrupt the classical cinema's conventions about female sexuality? If not, what effect does this use of negative space create with respect to the sexuality in the film?
In their article "Moving Pictures," Silverman and Farocki discuss the concept of "high art" in the recreation of Rembrandt's Nightwatch as interpreted by Jerzy in his film-within-a-film. How does this painting translate into "filmic terms," and do you agree with Silverman when he says that the mobile camera "releases figures from their frozen poses" and thus invades the high art? In addition, how does the purity of the art that Jerzy is recreating contrast with the raw sexual passion inherent in the lives of the actors and filmmakers (and mainly Jerzy) off set? On a different note, what did you think about the way Godard purposefully offset the diegetic sound of conversations and the visuals of people speaking, creating a disunity between auditory and visual and disorienting the viewer?
In "The Gaze and the Limit", Restivo asserts that L'Eclisse "posits a gaze that exists on the 'far side' of the visual field presented." How does this change the way we perceive the film as a whole, and specifically the relationship between Piero and Vittoria? He also asserts that the "eruption of the gaze is in some way related to the disruptions of stable subject positions within the world" of the film. How does this translate to the diegetic portion of the film (such as when Piero and Vittoria make out in the brokerage) and the final sequence of the film, in which the diegetic structure and focus of the gaze are completely disrupted through the disappearence of the film characters? How does this figure in with our definitions of "traumatic" and "sublime"?