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y the scene in Godard's film is transformed by Bertolucci into an atmosphere of voyeurism that engenders an uneasy viewing experience. In tracing these links to Godard's personality and films, a question emerges: in this context, who or what does Isabel's character represent? Considering that in the intricate game of cinematic citations set in motion by Bertolucci, she compares herself to Patricia, the protagonist of A bout de souffle, one answer might be that she represents cinema, the cinematic muse, or the spirit of cinema, as seen by Bertolucci, who has always considered that Godard's debut film heralded a new form of cinema. Therefore, metaphorically, the relationship between Isabel and Matthew - if Matthew becomes a cypher for Bertolucci and Theo a Godardian figure - could be read as Bertolucci's acknowledgment that although he has mastered, and enjoyed mastering, the art of film-making, the spirit of cinema has always ultimately been possessed by Godard, remaining with him. hi the world of the film this interpretation is implied in the exchange between Matthew and Isabel, the former commenting that 'he [Theo] has never been inside you', Isabel replying 'he is always inside me'. This inseparable complicity is also implied in the film's last sequence when Isabel opts to stay with Theo in joining the student rebellion. The reading of an (auto)biographical element within the trio's relationship makes for interesting forms of interplay between the emotional and the intellectual for viewers and critics who give credence to this hypothesis. The plausible intellectual basis for this interpretation, together with the way the film cues empathy from viewers towards Matthew via his intermittent voiceover and the frequent reaction shots of him, creates a poignant resonance that is both affective and intellectual on account of Matthew/Bertolucci's genuine feeling for both Isabel/the spirit of cinema and Theo/Godard that culminates in immense sadness as the trio finally separate, but also in profound respect on the part of Matthew/Bertolucci for Theo/Godard's choice to embrace political and artistic radicalism. 170
Sexuality and shifts of subjectivity The narration of the second narrative within The Dreamers often appears overwhelmed by its eroticism, and further convoluted by the twins' incestuous relationship. This eroticism constitutes a frame that diverts viewers' attention from the film's intellectual theses to what appears to be a visual fixation with graphic sexuality. From this perspective the narration assumes a subjective quality, facilitating a cognitive identification between the viewer and Matthew based on the recognition of erotic gratification and social acceptance as the values motivating his conduct (Grodal, 1997: 87). This makes viewers empathize with his erotic desire for Isabel and his enjoyment of the new friendship that has vanquished his solitude, and it is supplemented by the emotional attachment to the character discussed above. However because Matthew is not a source of narrative impetus, but rather the object of the other two protagonists' whims, the identification with him shapes the viewers' experience of the diegetic events, as they never know what is coming next as regards the initiatives that Theo and Isabel put to him. Consequently, viewers feel Matthew's disorientation at discovering Theo and Isabel's incestuous relationship and they relate to his erotic gratification and the misery deriving from his frequent exclusion from the twins" bond. But ambiguity is cast on this identification structure by recurring camera viewpoints that produce shifts in perspective regarding narrative events. An external perceptual 'presence' assumes an increasing importance, acting as a filter through which narrative events are viewed and distorted. The effect occurs both when the camera perspective functions as a 'third eye' or omniscient narrator, and also when it surreptitiously replaces a character's viewpoint, especially during sexual scenes. Central to this strategy are mobile camera movements which roam the apartment, allowing viewers to know what the characters are doing at any moment. This occurs after Isabel's hysterical reaction to Theo's sexual rapport with another girl. The camera movement starts from the centre of Isabel's bedroom, 171
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Sexuality and shifts <strong>of</strong> subjectivity<br />
The narration <strong>of</strong> the second narrative within The Dreamers <strong>of</strong>ten appears overwhelmed by its<br />
eroticism, and further convoluted by the twins' incestuous relationship. This eroticism<br />
constitutes a frame that diverts viewers' attention from the film's intellectual theses to what<br />
appears to be a visual fixation with graphic sexuality. From this perspective the narration<br />
assumes a subjective quality, facilitating a cognitive identification between the viewer and<br />
Matthew based on the recognition <strong>of</strong> erotic gratification and social acceptance as the values<br />
motivating his conduct (Grodal, 1997: 87). This makes viewers empathize with his erotic<br />
desire for Isabel and his enjoyment <strong>of</strong> the new friendship that has vanquished his solitude,<br />
and it is supplemented by the emotional attachment to the character discussed above.<br />
However because Matthew is not a source <strong>of</strong> narrative impetus, but rather the object <strong>of</strong> the<br />
other two protagonists' whims, the identification with him shapes the viewers' experience <strong>of</strong><br />
the diegetic events, as they never know what is coming next as regards the initiatives that<br />
Theo and Isabel put to him. Consequently, viewers feel Matthew's disorientation at<br />
discovering Theo and Isabel's incestuous relationship and they relate to his erotic<br />
gratification and the misery deriving from his frequent exclusion from the twins" bond.<br />
But ambiguity is cast on this identification structure by recurring camera viewpoints<br />
that produce shifts in perspective regarding narrative events. An external perceptual<br />
'presence' assumes an increasing importance, acting as a filter through which narrative<br />
events are viewed and distorted. The effect occurs both when the camera perspective<br />
functions as a 'third eye' or omniscient narrator, and also when it surreptitiously replaces a<br />
character's viewpoint, especially during sexual scenes. Central to this strategy are mobile<br />
camera movements which roam the apartment, allowing viewers to know what the characters<br />
are doing at any moment. This occurs after Isabel's hysterical reaction to Theo's sexual<br />
rapport with another girl. The camera movement starts from the centre <strong>of</strong> Isabel's bedroom,<br />
171
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