As the audience, our role is that of the spectator. We are the spectators to the debacle that is Russo “Sasha” Pond’s life. We can only watch with our eyes fixated on the screen as the inevitable train wreck occurs: partly out of the anticipation of what will happen next, partly out of crude fascination. In this sense the audience has become both spectators and voyeurs. Spectators denoting the (using Dimitris Papanikolaou’s term) “nationfuck” of a viewing “privileged position” economically, living conditions, opportunities afforded, etc. I imagine it to be similar this respect to the crowd of gawkers that surround Kotsian among the numerous police cars. The term “voyeur” denotes a particular type of perverse fascination, in this instance of a “model of the gaze that itself is queer” (Papanikolaou 194). Through the cinematic representation in the film From the Edge of the City, the audience as spectators would have attempted to gain a steady foothold in the turbulent world of drugs, indiscriminate casual sex, and horrendous house music, while simultaneously confronting the juxtaposition of fluid sexuality and the underlying masculinity codes dictating the lives of a gangly group of teens of the Russian-Greek (Pontic) population circa late 1990’s. [To be continued in paper…]
Establishing Shot of the Central Characters (L to R): Panagiotis, Kotsian, Sasha.
“Object of Visual Pleasure for the Voyeuristic Gaze” aka Sasha’s Abs ~_^