The Tactile Eye: Touch and the Cinematic Experience
The Tactile Eye expands on phenomenological analysis and film theory in its accessible and beautifully written exploration of the visceral connection between films and their viewers. Jennifer M. Barker argues that the experience of cinema can be understood as deeply tactile—a sensuous exchange between film and viewer that goes beyond the visual and aural, gets beneath the skin, and reverberates in the body. Barker combines analysis of embodiment and phenomenological film theory to provide an expansive description of cinematic tactility. She considers feminist experimental film, early cinema, animation, and horror, as well as classic, modernist, and postmodern cinema; films from ten national cinemas; and work by Chuck Jones, Buster Keaton, the Quay Brothers, Satyajit Ray, Carolee Schneemann, and Tom Tykwer, among others.
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action films ambivalent Andrey Tarkovsky another’s bodily body’s Buster Keaton camera movement caress Carol chapter characters chase films child’s cinematic experience close-up describes disgust early cinema embodied emotional empathy Eraserhead erotic evokes example feel film and viewer film experience film’s body film’s skin flesh frame gaze gestures hand handshake haptic visuality Hiroshima human body Ibid illusion inside inspiration intimate invites Keaton literally Marks means Merleau-Ponty mirror motion move movie muscular musculature mutual narrative object one’s ourselves Pather Panchali perceive perception and expression Phenomenology of Perception physical pleasure projectionist relationship Repulsion reversibility rhythms Run Lola Run scene screen seats sense sensual sequence Sherlock smooth Sobchack space spectator spectator’s speed Steadicam stop-motion animation Street of Crocodiles structures surface tactile Tarkovsky Tarkovsky’s temporal texture theater things tion touch Toy Story University Press viewer’s body viscera visible vision Vivian Sobchack watching whip pan writes zooms