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Sensing film performance
pp. 165-183
Abstrakt
In "Sensing Film Performance', Sean Redmond analyses three films—Under the Skin (Glazer 2013), The Wrestler (Aronofsky 2008), and Lust, Caution (Lee 2008)—with an eye towards the way in which a phenomenological perspective can underscore the essentially embodied nature of experiencing film. Redmond suggests a series of "carnal alignments' emerge between the bodies of the actor, character, and viewer, and that these conjunctions are at once individual (or "deeply personal') and collective. In tracing these alignments, Redmond helps expand our sense of the performative, by positing the cinematic screen itself as a performative environment, and the embodied spectator as a performative being.
Publication details
Published in:
Grant Stuart, McNeilly-Renaudie Jodie, Wagner Matthew (2019) Performance phenomenology: to the thing itself. Dordrecht, Springer.
Seiten: 165-183
DOI: 10.1007/978-3-319-98059-1_8
Referenz:
Redmond Sean (2019) „Sensing film performance“, In: S. Grant, J. Mcneilly-Renaudie & M. Wagner (eds.), Performance phenomenology, Dordrecht, Springer, 165–183.