David MacDougall
Search for other papers by David MacDougall in
Current site
Google Scholar
PubMed
Close
The third tendency in cinema
Abstract only
Log-in for full text

This chapter traces the way in which films have evolved from portraying scenes to be ‘looked at’ to strategies of making the viewer feel present within the film, to films in which the sensory world is more fully evoked and embodied. The last tendency is apparent in the composition of images and the editing dynamics of silent Soviet cinema, but it later emerged in attempts to evoke a broader range of sensations, involving touch, taste and smell. In some films the presence of the human subject is often felt in ways that seem to transcend conventional ideas of representation, as in some of the films of Bresson, Tarkovsky and Bergman. The reasons may be found in terms of ‘tactile space’ and ‘close-range’ vision as well as in a kind of shared proprioception, recently corroborated by findings in cognitive science. Such impressions may also be experienced by filmmakers in the act of filming and then be communicated in tacit ways to the viewer. Visual anthropology has been influenced by these moves through recent films attempting to create a sensory ethnography. This ‘sensory turn’ suggests the possibility of a cinema of consciousness that more fully reflects our experiences of everyday life.

  • Collapse
  • Expand

All of MUP's digital content including Open Access books and journals is now available on manchesterhive.

 

The looking machine

Essays on cinema, anthropology and documentary filmmaking

Metrics

All Time Past Year Past 30 Days
Abstract Views 153 128 0
Full Text Views 14 14 10
PDF Downloads 11 11 5