@article{esj 37, author = {Lori Cantwell}, title = {The Shock Value of Ladislav Starewicz’s The Cameraman’s Revenge}, volume = {8}, year = {2016}, url = {http://publications.essex.ac.uk/esj/article/id/37/}, issue = {1}, doi = {10.5526/esj37}, abstract = {Stop-motion animation has carved a unique path for itself in cinematic history as it encompasses diverse techniques and innovative ideas. Ladislav Starewicz's The Cameraman's Revenge is no exception. By using insects as puppets to portray a human love triangle, Starewicz manages to shock audiences on multiple levels. With elements of humour and horror, The Cameraman's Revenge is an important creation in cinematic history that remains contemporary and innovative to this day. In this essay, I will examine the ways in which this film may illicit shock value to audience members and scholars alike. I will analyze various cinematic techniques used within the film that can illustrate the sense of shock, and the deeper impact the film's diegesis may contain, including the human psychosis of insect contamination, haptic mise-en-scène, the ethical concerns regarding animal rights on film, meta-textual elements of voyeurism and perhaps the first cinematic evidence of paparazzi. I will also explore the idea that Starewicz may have only intended his film to be that of parody rather than academic evaluation.}, month = {1}, keywords = {Ethics,Film,Ladislav Starewicz,Cinematic History,Stop-motion Animation,Shock value,The Cameraman's Revenge}, issn = {2633-7045}, publisher={University of Essex Library Services}, journal = {Essex Student Journal} }