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Extra resources for Reading Stargate SG-1 (Reading Contemporary Television)
Eventually subsidized up opposed to the wall by means of Bregman’s pointed questions on even if the realm may still learn about the Stargate programme, Daniel seems clear of either Bregman and the digicam and says: ‘I imagine it’s a relative query; it depends upon your standpoint’ (‘Part 2’, 718). Up until eventually this second, now we have been gazing the interview full-screen. whereas the picture is obviously video from Bregman’s digital camera, in spite of the fact that, the full-screen aligns this interview with the ‘real’ due to its dimension, which duplicates that of the ‘objective’ view. therefore, the bounds among those issues of view are blurred, and it takes a definite form of vigilance to withstand that conflation. The conflation isn't really entire, even though; in this final line of Daniel’s, we watch him, nonetheless full-screen, yet now the picture is clearly at the visual display unit (the monitoring traces and shifted shades sign this). we're being reminded that we've got been got rid of one extra step from the ‘real’. The temporary confusion among the 2 issues of view turns out to align Bregman’s standpoint with the ‘real’ or the ‘objective’ yet 15 R E advert I N G S T AR G A T E S G - 1 Daniel’s disruptive gaze and his phrases practice the reciprocal motion of unveiling the ‘objective’ perspective to be likewise mediated. ‘The query is relative,’ the digital camera insists. ‘It is dependent upon your standpoint. ’ The final frames exhibit us that we're not seeing the ‘real’ yet only one standpoint. Is it Daniel’s? Bregman’s? Bregman’s model of Daniel’s model? once more, objectivity is foreclosed. within the absence of an aim stance, we're left to think about the results of viewpoint, who controls it, how they use it, and to what influence. those implications are given pointed emphasis by way of Daniel’s fight with Bregman over the handi-cam photos. through echoing the sooner scene among Bregman and Daniel in Daniel’s lab, the pictures of Janet’s demise asks us to match those moments and communicates the hazards of the ‘wounding shot’. As within the lab scene the place Daniel is crowded into the foreground, his head angled defensively away, Janet is in a similar way located so with regards to us that we will virtually contact her, and, like Daniel, she is became mostly clear of us, exposing that very same stretch of unprotected face and ear and neck. back, there's a refined visible pun at paintings right here, because the scenes evaluate ‘shots’ – from a employees weapon and from Bregman’s invasive, interrogating camera/gaze – and determine their equally lethal power. the most obvious distinction is that Janet’s uncovered face is seen from Daniel’s in actual fact sympathetic and benevolent perspective, whereas Bregman’s comparable place within the previous scene is coded as invasive. however, the echoing of views within the pictures implicates Daniel within the fight for possession and interpretive keep watch over of this picture, whatever the undeniable fact that his motivation is exceptional by means of its protectiveness. And, as Woolsey’s witch-hunt within the moment episode demonstrates, Janet is very at risk of the vagaries of interpretation, for Woolsey makes use of the social gathering of her dying to problem the SGC’s rules and middle values.