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.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
senate house. 還行，寫得早，政治性比較強。
评分the ghosts of Proust, Deleuze, and Bergson
评分the memory of touch
评分對德勒茲的解讀已經非常說人話瞭，喜歡對infrastructure的梳理部分，很多對樣本電影的解讀都很啓發人把自己瞭解的很多知識放到一個再大一點的架構裏去看，要細讀
评分從跨文化電影入手，來說明memory-images到-objects再到-senses的電影新體驗——不再是visual，而是multisensory。為證觀點，Marks調用瞭柏格森/德勒茲的“物象”和MP的“知覺”來取代現象學的“意識”、精神分析的“無意識”。全書的關鍵詞就是“記憶”——跨文化電影是挑戰話語霸權和主流曆史敘事，因此會將私人記憶存儲在電影中使其變得可觸。但不得不說，本書無論是文本分析還是理論構建都稱不上優秀，結閤現象學，暗閤情動轉嚮/發現身體算是“創新之處”。結論部分，提到民族/國傢的飲食氣味作為文化記憶在全球流動，或許錶明作者政治立場。電影的肌膚在此指的不是“銀幕”，而是能夠讓觀眾觸碰到記憶的物質形式的“膜”，就像聞到咖喱味，我們能想到印度菜的種種。
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