Peering-into as (Dys)Functional Optics: What Gives “Poor” Visibility?

Abstract

Visibility, as a cornerstone of the cinematic medium, often goes unquestioned. Directors employ strategies to resist the primacy of visibility and the dominance of optical “smoothness,” often introducing “roughness” that actualizes haptic perception. Nevertheless, in both scenarios, viewers typically maintain a relatively clear vision, whether confronted with monochrome color, a black screen, or “palimpsest” textures. Conversely, routine viewing experiences, driven by various technical factors—such as an excess of ambient light, low-resolution copies, or a small display diagonal—can disrupt or even obliterate the coherence of clear vision. The inability to casually see what unfolds on the screen necessitates a more focused gaze, thereby altering the viewing experience. Although any film can fall into the category of “poorly visible”, this article exclusively delves into intentional cinematic experiments. In particular, it considers films with dimming of images, minimizing the light in frames. These experiments immerse viewers in a “twilight” realm of destabilized vision, evoking not only a bodily engagement with cinema but also an interoceptive awareness of the viewer’s own body.