In Gidal's films, the first level of resistance, that of the filmmaker to the lure of the object, is chiefly inscribed through the action of the camera in it's 'looking at' the space - variously through; motion, distance, focal length's effect on perspective, zoom or focus. The second level, the attempt to distanciate the spectator from the identification with the enunciator, is chiefly inscribed through devices like; repetition, graining out... see more