Abstract
This article examines the connections be- tween the camera shot and the gun sight in the age of classic Hollywood cinema. Com- paring THE LOST PATROL with TRINADTSAT, it asks what kind of relationship films from this era strove to establish between the viewer and the gun shot on screen. The ideological and stylistic differences between the films make visible divergent fantasies of agency, community and technology.
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DOI 10.28937/1000108349
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