There are at least two shots in Todd Haynesâs work that recur so frequently one might almost call them signature shots. The ï¬rst appears in Superstar (US, 1987) and Poison (US, 1991) and functions as the opening shot of Safe (US/UK, 1995). A long tracking shot, sometimes marked as originating from inside a car, traces row after row of classic suburban houses â all basically the same with only slight differences, all overly familiar â in a seemingly endless movement reminiscent of Jean-Luc Godardâs lateral tracking shots in Le Weekend (The Weekend; France/Italy, 1967). In Safe, the point of view is through the windshield of the car (and here we have haute suburbia), of streets with identical lampposts and houses, trash carefully placed at the edge of driveways, of serial production, of sheer separation from the rest of the world as signiï¬ed by the gate at the end of the Whitesâ driveway. The suburban house in its many incarnations is the site of both the familCopyright Â© 2004 by Camera Obscura Camera Obscura 57, Volume 19, Number 3 Published by Duke University Press 1 â¢ Camera Obscura iar and its etymological kin, the family, the site of the
Camera Obscura – Duke University Press
Published: Jan 1, 2004
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