1.0ARKIPELhttps://arkipel.orgArkipelhttps://arkipel.org/people/arkipel/The Mirror that Cracked — ARKIPELrich600338<blockquote class="wp-embedded-content" data-secret="4FY4C3IgIx"><a href="https://arkipel.org/the-mirror-that-cracked/">The Mirror that Cracked</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://arkipel.org/the-mirror-that-cracked/embed/#?secret=4FY4C3IgIx" width="600" height="338" title="“The Mirror that Cracked” — ARKIPEL" data-secret="4FY4C3IgIx" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript">
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https://i0.wp.com/arkipel.org/wp-content/uploads/2019/08/absent-wound2.jpg?fit=1920%2C1080&ssl=119201080Cinema is likened to a mirror. At least for Christian Metz, a reproduction of the image on screen gives it a mirror-like effect.[2] Although the concept of screen as a mirror departs from Jacques Lacan's theory of the mirror stage, which is about children's recognition of self and their environment, Metz argues that this concept works the other way around: the identification occurs to the audience because they are absent and passive on the screen. In such circumstances, the audience identifies themselves as the camera, which follows the direction of their movements, thus the audience unconsciously becomes one with the film reality that exists on the screen.