Abstract:Chapter 4 explores Sergei Eisenstein’s theory of the audience’s corporeal empathy, evoked by actors’ movements and graphical, nonhuman “gestures”—that is, “movements” implied by the structure of the shot composition, editing, and other formal devices. In scrutinizing Eisenstein’s theory that spectatorship is, fundamentally, an enactive experience, this chapter traces the roots of his ideas and evaluates the aesthetic and political implications of his position. First, I analyze the filmmaker’s engagement with p… Show more
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