This spec-tatorial distance, “making strange,” as Brecht would have it, allows the paren-tal viewer to process these narratives as an “other,” “unintended” audience and thus relieves them of the burden of full-frontal spectatorship (Brecht 93).

Giving the audience a taste of the film’s “navigable space,” this shot evinces the phenomenological power of the digital to depict scale of a breathtaking breadth (Manovich 248; Whissel, 91).8

“The visual and nar-rative incoherence that often arose from the effacement and displacement of sen-sitive subjects encouraged audiences to become active interpreters, obliging them to make their own sense of contra-dictory evidence” (Vasey 127–28).

If “veiling something from sight turns out [as it did] to inspire as signifi-cant an erotic reaction as the unveiled event would have done...If the film screen works like a kind of censoring, elaborating the effect of what it covers, how will you censor that?” (Cavell 83)