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Full Description
Since the pioneering work of Vivian Sobchack, Laura U. Marks and Jennifer M. Barker, film studies has increasingly embraced multisensory spectatorship. Such approaches privilege a carnal vision and knowledge of the world. Vital Resonances furthers this work and attunes to what is a foundational, yet overlooked, principle of film studies' bodily turn: resonance. In keeping with the soft touch that characterises some of this turn's critical literature the feel of velvet, the (frustrated) tactility of a sari, the skin of a lover's body resonance has been brushed over. Through the work of three leading figures in European cinema, Agnes Varda, Michael Haneke and Jean-Luc Nancy, this book establishes resonance as a critical and conceptual paradigm for film analysis, transforming it from a footnote to the bodily turn and finally placing it at the forefront of our fleshy encounter with film.
Contents
Film, resonance and the senses
Seeing with oneself: Regarding Jean-Luc Nancy on film
La Pointe courte: Avoid contact with the eyes and skin, may cause irritation
Time of the Wolf: Denatured disaster movie, underwhelming apocalypse, or the new normal?
Teenage dreams in The Seventh Continent
Le Bonheur: Happiness made and remade
The Singular Plural of Seeing in Cleo from 5 to 7
Caché: If these walls could talk
Bad Resonance in The Piano Teacher
Documenteur: A resonant picture
Bloody Resonance
