Sensual memory - the physical awareness of touch, smell, and bodily presence - is a vital link to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In "The Skin of the Film" Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression.Marks offers a theory of 'haptic visuality' - a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste - to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory. Using close to two hundred examples of intercultural film and video, she shows how the image allows viewers to experience cinema as a physical and multisensory embodiment of culture, not just as a visual representation of experience. Finally, this book offers a guide to many hard-to-find works of independent film and video made by Third World diasporic filmmakers now living in the United States, Great Britain, and Canada. "The Skin of the Film" draws on phenomenology, postcolonial and feminist theory, anthropology, and cognitive science. It will be essential reading for those interested in film theory, experimental cinema, the experience of diaspora, and the role of the sensuous in culture.
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chapter 3 was the hardest partT^T 'mimesis'WTF!the differences between MIMESIS AND SYMBOLIC representative are too similar to tell
评分the memory of touch
评分对德勒兹的解读已经非常说人话了，喜欢对infrastructure的梳理部分，很多对样本电影的解读都很启发人把自己了解的很多知识放到一个再大一点的架构里去看，要细读
评分和Vivian Sobchack并列为电影学和现象学结合的开山人，尤其在affect theory成为文科新热之后，这本书值得重读。常规定义把电影称为视听产物，而Marks引入现象学意义上的触感，无疑重写了电影作为媒介的意义。由触感所建立的电影和观众的关系，也意味着一种更为模糊暧昧的主客关系。
评分对德勒兹的解读已经非常说人话了，喜欢对infrastructure的梳理部分，很多对样本电影的解读都很启发人把自己了解的很多知识放到一个再大一点的架构里去看，要细读
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