Spectatorship cuts a lucid and provocative path through the dense undergrowth of the debate on spectatorship. It both revisits the classics of Hollywood and explores films from beyond the mainstream, such as Dogme 95 . Film, like all visual culture, offers the possibility, and the pleasure, of seeing things we would t rmally be able to see. Cinema makes a spectacle of the everyday and turns the spectacular into commonplace. But, what does it actually mean that spectatorship involves our sharing in or witnessing the private or intimate acts of others, or that it depends upon our enjoyment of events that often represent a gross break with legal or social mores?
Michele Aaron lectures on film in the American and Canadian Studies department at the University of Birmingham. She is the editor of New Queer Cinema: A Critical Reader and has published various articles on spectatorship.