Despite its specific visuality, the spectacle has not played any major role in film studies. By deconstructing the cultural history of the term, this study sounds out its analytical potential. Three analyses spanning the history of film show how the spectacle appears as a dynamic network of gazes in the staging of surfaces and thus how visibility itself is negotiated aesthetically.

Autorentext

Hannes Wesselkämper , Filmuniversität Babelsberg KONRAD WOLF, Potsdam.