The Skin of the Film: Intercultural Cinema, Embodiment and the Senses

Martin‐Jones, David

doi:10.1093/screen/43.4.442

Cited by 29 publications

(38 citation statements)

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“…Meanwhile Anna's amusement is barely concealed by her apparent frustration, she too appears to secretly welcome a distraction from the routine of the training class (Figures 7-12). The images 'bring to life' something of the playful energy as Bella jumps and rebounds off Anna, tail and ears flying, highlighting the 'haptic visuality' 81 of human-animal embodiment, perhaps serving as a bodily reminder of our own encounters with jumping dogs. We capture moments and gestures of inter-species (mis)communication as Anna attempts to establish a connection with Bella, bending her body slightly and pointing to hold her in the sit position before gesturing her environment, the damp cold of the hall on this winter's evening, the barking and whining of canine observers and lingering odours of treats and wet dogs.…”

Section: Bella Refuses To Engage With the Agility Coursementioning

confidence: 99%

‘Imagine you are a Dog’: embodied learning in multi-species research

Fox

Charles

Smith

et al. 2022

cultural geographies

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Based upon a multi-species ethnography of companion dog training in the UK, this paper examines the training class as a site of inter-species communication through which dogs and their humans are mutually affected and transformed. We argue that dog training represents an important form of multi-species learning in which participants (human trainer, trainee and canine) shape one another, jointly if asymmetrically, through the performance of particular tasks and challenges. Successful training requires ‘attunement’ to the haptic and sensory experiences of another species and the creation of shared embodied languages through which relationships of trust and reciprocity are formed. Responding to calls for less human-centred methods we examine the possibilities of visual and ethnographic methods for capturing the ‘animal’s point of view’ and explore how deep ethnographic involvement of the researcher’s own body can draw attention to the everyday complexities of embodied inter-species communication. We consider the importance of our own embodied learning in decentring the human in the research process, engendering a corporeal understanding of the multi-sensory nature of inter-species interaction and transforming ourselves in the process. Through the use of ethnographic vignettes, photos and video stills we highlight the importance of body language, sound, touch, smell and training atmospheres in the creation of shared knowledges. In doing so we explore the possibilities of such methods for evoking the affective dimensions of human-canine interactions and attending to the complex and multiple actors and sensibilities which comprise multi-species training relationships.

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Section: Bella Refuses To Engage With the Agility Coursementioning

confidence: 99%

‘Imagine you are a Dog’: embodied learning in multi-species research

Fox

Charles

Smith

et al. 2022

cultural geographies

View full text Add to dashboard Cite

show abstract

“…Laura Marks (2000) considers two different kinds of visuality in perceiving film, optical and haptic: "Optical visuality depends on a separation between the viewing subject and the object.…”

Section: Film Vision and Distancementioning

confidence: 99%

“…It is more inclined to move than to focus, more inclined to graze than to gaze" (162). Marks (2000) suggests that by invoking other senses and memories of haptic sensations, film can invite a different kind of encounter with bodies on screen: "The haptic image forces the viewer to contemplate the image itself instead of being pulled into narrative " (163), "the eyes themselves function like organs of touch" (162).…”

Section: Film Vision and Distancementioning

confidence: 99%

Closer. Fatness, desire, and seeing as touching

Hutter

2022

Fat Studies

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Thinking through the concept of "seeing as touching" as articulated in the work of Laura Marks, Maurice Merleau-Ponty, and queer filmmaker Barbara Hammer, this article uses a researchcreation approach involving somatic and visual prompts to explore questions around intimacy, visuality, touch, and distance. Building on the concepts of desirability hierarchies and economies of care, it investigates connections between fatphobia and feelings of desire and disgust, highlighting the complex role that sensations can play in reproducing and reinforcing normative body standards and white supremacist power structures. The article includes still photographs from a video-based exploration of a fat "haptic visuality" and suggests a connection between the generative ambiguity such an approach to making images can allow for and the inherent transgressive potential of fat embodiment. * Pre-pandemic, in a dance class. We are doing a warm-up exercise that I've started calling "putting my skin on": running my hands all over my body, waking up my surface, reminding myself where I begin and where I end. When my hands glide over the bumpy backs of my thighs, it's like I'm shining a flashlight on them while the rest of the room is suddenly plunged into darkness. Every dimple thrown into stark relief, hypervisible. I feel a rush of shame. I keep going. I tell myself: "I get to have a skin." And, as happens every time, when I have stopped running my hands over my skin, it feels more alive than only a few minutes before, and more porous: a boundary, but a connection, too.

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“…The subject positions articulated in both documentaries are mobile and fluid, but they are ‘not just physical and territorial but are also deeply psychological and philosophical’ (Naficy, 2001: 6), and, I would add, embodied, underscored by the visceral reactions (vomiting, a wound or cut, gut feeling, infection) that are explored on screen. This calls to mind Laura Marks' fascinating work on haptic visuality, in which she positions on‐screen sensory experience and bodily presence as touchstones of diasporic filmmaking (2000). As Guzmán's closing words emphasise, ‘there is something inside you, that is different … you aren't part of things like everyone else’.…”

Section: Challenging Myths About the Second‐generation In Exilementioning

confidence: 99%

Documenting Diaspora, Diasporising Memory: Memory and Mediation among Chilean and UruguayanHijxs del exilio

Levey

2021

Bull Latin American Res

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Addressing the absence of second‐generation exiles from Southern Cone post‐dictatorship memory scholarship, this paper compares two documentaries: Hora Chilena, about the British‐Chilean community and Tus padres volverán, depicting Uruguayan exiles across Europe – both made by and/or about the no retornadxs (those who did not return to their countries of origin after dictatorship). The paper deploys documentary to offer a nuanced depiction of the hijxs del exilio (children of exile), finding them to be distinct to both the protagonist generation and their second‐generation peers in the Southern Cone. By incorporating neglected voices and reframing post‐dictatorship memory in Europe, the paper challenges memory narratives about second‐generation exile.

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The Skin of the Film: Intercultural Cinema, Embodiment and the Senses

Cited by 29 publications

References 0 publications

‘Imagine you are a Dog’: embodied learning in multi-species research

‘Imagine you are a Dog’: embodied learning in multi-species research

Closer. Fatness, desire, and seeing as touching

Documenting Diaspora, Diasporising Memory: Memory and Mediation among Chilean and UruguayanHijxs del exilio

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