The abject camera in a Star Is Born (2018)
DOI:
https://doi.org/10.33871/19805071.2026.34.1.11764Keywords:
cinema, narrator, abjection, A star is bornAbstract
This article examines narrative construction in cinema through the concept of abjection, exploring the relationship between ethics and the aesthetics of cinematic language. The starting point is Jacques Rivette’s critique of the tracking shot in Kapò (1960) and Serge Daney’s extension of this concept, applying it to the editing of the We are the world (1985) music video. The analysis then shifts to the film A star is born (2018), investigating how the figure of the narrator, identified through the camera’s behavior, surpasses the expected neutrality in its enunciation by making, with a brief camera movement, a visual comment that seems to reinforce social judgments about the protagonist’s body. Through formal analysis, the article problematizes the relationship between aesthetic choices and the moral meanings that emerge from the scene, offering a critical perspective on the supposed neutrality of the narrator in cinema through its articulations of cinematic language.
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