Mise en Esprit: One-Character Films and the Evocation of Sensory Imagination

Julian Hanich*

*Bijbehorende auteur voor dit werk

    OnderzoeksoutputAcademicpeer review

    Samenvatting

    This article starts out by introducing the category of the ‘one-character film’ — that is, narrative feature films that rely on a single onscreen character. One-character films can range from extremely laconic movies entirely focused on the action in the narrative here-and-now via highly talkative films that revolve around soliloquies of self-reflection, questioning of identity and a problematizing of the narrative past to strongly dialogue-heavy films that — via phones and other telecommunication devices — reach far beyond the depicted scene. It is on the latter that the article eventually focuses. Films like Buried (2010), Locke (2013) or The Guilty (2018) centrifugally thrust the viewers into a simultaneous present that remains invisible and that they have to imagine in sensory ways. Imagining this invisible elsewhere, which I call mise en esprit, can be facilitated and evoked through various cinematic means such as reduced within-modality-interference, suggestive verbalizations, acousmatic voices and sound effects.
    Originele taal-2English
    Pagina's (van-tot)249–264
    Aantal pagina's16
    TijdschriftParagraph
    Volume43
    Nummer van het tijdschrift3
    DOI's
    StatusPublished - nov-2020

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