A Study On The Narrative Of "Surveillance" In Western Film

In today’s society,with the development of audiovisual technology,computer technology and network technology,more and more electronic media have entered our daily life,especially the emergence of various video recording devices such as professional camcorders,digital cameras,surveillance cameras,smartphones,webcams and car recorders as recording media,making the production of surveillance images more widespread and common,and the media landscape made up of such The social ecology constituted by such a media landscape has also become a central theme in film narratives and film culture.At the same time,surveillance in cinema is also an ideological device and a narrative framework that is extremely rich in cinematic narratives and cultural representations,inspiring not only innovation in the language of cinema in the art form,but also dialectical thinking about media and society,viewing and power,the real and the virtual,technology and life in the field of popular culture,so that films about surveillance not only represent "It is therefore not only a cultural symptom of the "surveillance society",but it also unifies the form and content of surveillance practices in the narrative structure of cinema.This is why a re-orientation of the surveillance narrative in film is necessary.This essay firstly examines the shaping and imagining of "surveillance society" in Western cinema by locating "surveillance" as a narrative theme in Western cinema from three dimensions: body,time and space.The increase in the extent and depth of surveillance is intended to improve social stability,reduce crime rates and increase the sense of security,but at the same time it is accompanied by the end of human privacy and the collapse of the core value system on which the West is based.Secondly,the aim of this paper is to analyse the structural differences between the modes of surveillance on television and on the Internet,and to reveal the power relations between the viewer and the subject of surveillance in both structures.Finally,returning to the language of cinema itself,I argue that in the context of the rapid development of digital cinema,more and more films are creating a realist aesthetic through the use of surveillance images as a visual strategy.