公共スクリーンとコミュニケーション労働——映画『ドッグヴィル』における労働の視覚化と見ることの労働化——

抄録

This paper analyzes the visual rhetoric of Lars von Trier’s 2003 film Dogville, exploring how the film reconfigures the relation between spectatorship and labor. The main argument of this paper is two-fold: first, the film illuminates the transformation of viewers’ subjectivity from “spectator” to “observer”; and second, it depicts the transition from visualization of labor to laborization of viewing. Focusing on the two essential aspects of the film, this paper critically examines how the unique visual style and aesthetics of the film incorporate “communicative labor” into the realm of cultural consumptions and visual experiences. In so doing, this paper concludes that Dogville visually illustrates the spectacular totalization of “viewing as labor” in contemporary mediascapes and on public screens.