Abstract
Examining Jean Painlevé's and Geneviève Hamon's film The Love Life of the Octopus (Les Amours de la pieuvre) (1965), this essay offers a theory of refracted spectatorship. Refraction, here, describes the sexual nature of the eye/camera, and also how this refractory sight mis/sees animals, particularly octopuses.
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APA
Hayward, E. (2018). OctoEyes. Frontiers in Communication, 3. https://doi.org/10.3389/fcomm.2018.00050
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