The Camera’s Conscience: Welles, Buñuel, and the Demand for Empathy

Subjective realism, moral urgency, and the politics of seeing in "Citizen Kane" and "Los Olvidados"

Jan 02, 2012

∙ Paid

Originally written for the Department of Film and Media Studies at the University of California, Irvine, this essay reflects an academic exploration of cinematic form, ethics, and spectatorship.

"Neither Welles nor Buñuel settled for realism; their camera's gaze challenges us to confront not only what's on screen, but our own empathy, our complicity—and…

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