Hands and Feet in BELLE DE JOUR
DOI:
https://doi.org/10.17169/mae.2024.98Abstract
In a seminar paper about Luis Buñuel’s BELLE DE JOUR (F 1967), Elisabeth Mohr analyzed shots of hands and feet to understand their narrative purpose, defying the gratuitous explanation of a fetish (Mohr 2016). Throughout the analysis, Mohr inferred that Buñuel uses a kind of cinematic language that is intuitively understandable while at the same time ambiguous and complex; it is efficient and not sentimental; and it is surprising in the sense that the images often oppose the viewer’s expectations.
Discussing these findings with filmmaker Benjamin Deboosere, a question arose: Could this written analysis be expressed audiovisually? And how would it affect one’s understanding of the film? To accompany the resulting collaborative video essay HANDSENFEET, the creator statement by Mohr and Deboosere provides a look into the process of translation from text to audiovisual material, focusing on embracing ambiguity, repetition, avoiding mental overload, and audiovisual literacy.
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Copyright (c) 2024 Elisabeth Mohr, Benjamin Deboosere
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