This is what happened to us on September 29 [ 1 ] as we were getting ready to settle comfortably into the seats of the cinema of the city of comics and images of Angoulême to watch Nightcrawler slight unforeseen .
What we did not see coming was the power outage that plunged the room and half the city into darkness! The object of gaze reduced to silence? It took more than that to cool down an audience that came in large numbers to see, for many, this film that unfortunately passed a little too much under the media radar during its theatrical release.
whom we will follow slight unforeseen in his evolution
within the universe of local television channels that drink in the crimes and accidents that the city of Los Angeles provides every night by the dozens. Here is a character who presents himself as the modern subject par excellence accurate cleaned numbers list from frist database cut off from all shame, a dated affect of subjectivity, as Rodolphe Adam reminded us during the discussions that followed the screening.
We discover how this Joycean character, his surname has something to do with it, ends his wanderings one evening by how to use the cash app – a beginner’s guide tuning into the figure of the Stringers [ 2 ] whom he observes filming a car accident on a highway. Backed by capitalist discourse,
He then spreads his web over
the city of angels in such a way that he contaminates all those around him. All this is perfectly illustrated when we see him contemplating the effect that his trashy images produce on the technicians, journalists and spectators who discover them, their gaze fixed on the screens.
What Dan Gilroy, a Hollywood screenwriter whose first film as director this is, grasps here is this point of “the centrifugal malaysia numbers list dynamic of the gaze ” [ 3 ] as Lacan could anticipate in his last teaching.
Gilles Collas, president of the Hidden Circle association and representative of the film world, in Hitchcock and De Palma in particular. This is also a point to which Lacan was sensitive when he pointed out, in connection with the essential concept of the drive, that “the gaze is this lost object, and suddenly found again, in the conflagration of shame, by the introduction of the other” [ 4 ].
