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3 Technology, embodiment, and homosexuality Modernity and technics Over the 1880 to 1920 period, modern life in Western cities became exponentially enmeshed with a host of new technologies: automobiles, express trains, aeroplanes, electrical lighting, electrical conveyances (tramways, elevators, funiculars, moving sidewalks, etc.), telephone, wireless, and of course cinema. There were also less public innovations in industrial production and chemistry, in medicine (X-rays, pharmacology, dentistry, surgery, cosmetics, eyewear), and in destructive technologies of

in Jean Epstein
Marking and remarking
Editors: Kate Watson and Katharine Cox

Tattoos in crime and detective narratives: Marking and remarking examines representations of the tattoo and tattooing in literature, television and film, from two periods of tattoo renaissance (1851–1914, and around 1955 to the present). The collection reads tattoos and associated scarification, such as branding, as mimetic devices that mark and remark crime and detective narratives in complex ways. The chapters utilise a variety of critical perspectives drawn from posthumanism, spatiality, postcolonialism, embodiment and gender studies to read the tattoo as individual and community bodily narratives. The collection develops its focus from the first tattoo renaissance and considers the rebirth of the tattoo in contemporary culture through literature, children's literature, film and television. This book has a broad appeal and will be of interest to all literature and media scholars and, in particular, those with an interest in crime and detective narratives and skin studies.

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, the Marquise is saved from rape by the Russian Count, her hero, the embodiment of all virtue, before whom she swoons away. Months later she finds herself pregnant. But by whom? Certainly not by the noble count. In his Le Beau mariage, the young woman, whose love-making is interrupted by a phone call from her lover’s wife, rejects him in a rage and determines to marry. She chooses, almost at random, someone to be her husband

in Montage
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cinematic norm. In a hundred years’ time, media archaeologists – the descendants of today’s film scholars – may look back to Eric Rohmer’s œuvre as one of the odder embodiments of a belatedly classical aesthetic, one devoted to clarity of presentation, absence of effects, and to a well-nigh mystical belief in the camera’s ability to bring together the material and spiritual realms, directing us to a reality

in Eric Rohmer
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truth, 4 tattoos denote a resistance to change (Salecl in Ahmed and Stacey, 2001 : loc. 959–71). This act of personal resistance and embodiment responds to postmodern and poststructuralist theories of self. Our original contribution to knowledge is to argue beyond the tattoo as a recurrent trope in crime and detective narratives and identify its self-reflective and subversive function within the genre itself. Too often the tattoo has been analysed as an uncomplicated representation of criminality, deviance or primitivism in crime and

in Tattoos in crime and detective narratives

In the full-length treatment of the child in Spanish cinema, this book explores the ways that the cinematic child comes to represent 'prosthetic memory'. The cinematic children in the book retain traces of their mechanical origins: thus they are dolls, ventriloquists' dummies, cyborgs or automata. Moreover, by developing the monstrous undertones evoked by these mechanical traces (cinema such as 'Frankensteinian dream'), these films, in different ways, return repeatedly to a central motif. The central motif is the child's confrontation with a monster and, derivatively, the theme of the monstrous child. Through their obsessive recreation over time, the themes of the child and the monster and the monstrous child come to stand in metonymically for the confrontation of the self with the horrors of Spain's recent past. The book focuses on the cine religioso (religious cinema), in particular, Marcelino, pan y vino. The children of cine religioso appear like automata, programmed to love unconditionally an absent mother. The book then examines the Marisol's films from the 1960s and the way she was groomed by her creators to respond and engineer the economic and cultural changes of the consumerist Spain of the 1960s. It further deals with Victor Erice's El espiritu de la colmena and works through cinematic memories of this film in later works such as El laberinto del fauno, El orfanato and El espinazo del diablo. The films are seen to gesture towards the imaginary creation of a missing child.

Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The first monograph on her work, The Cinema of Lucrecia Martel analyses her three feature films, which also include La niña santa (2004) and La mujer sin cabeza (2008), alongside the unstudied short films Nueva Argirópolis (2010), Pescados (2010) and Muta (2011). It examines the place of Martel’s work within the experimental turn taken by Argentine cinema in the late 1990s and early 2000s, a trend of which Martel is often described as a major player, yet also explores correspondences between her work and other national and global filmmaking trends, including the horror genre, and classic Hollywood. It brings together the rich and diverse critical approaches which have been taken in the analysis of Martel’s work – including feminist and queer approaches, political readings and phenomenology – and proposes new ways of understanding her films, in particular through their figuring of desire as revolutionary, their use of the child’s perspective, and their address to the senses and perception, which it argues serve to renew cinematic language and thought.

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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy

the squid’s ink. After his initial reduction to ash, mixed to form a type of ink, he also bonds with ink drawn from the Kraken library to imbibe knowledge of the squid ( ibid. : 441). Although he appears reliant on Byrne his partner to transcribe his inked instructions, he is also able to change, encharming paper to create a tiger and in his inkform writes spells on the body that kill. Grisamentum as the combined ink is revealed as briefly ‘authorial’ and able to remake place as he ‘writes’ ( ibid .: 459). As the embodiment of logos , from the polysemic λόγος in

in Tattoos in crime and detective narratives

exploration of the enigma of the stolen diamonds is also an exploration of (Deneuve) as enigma (the lost diamonds functioning as a metaphor for the effect of time on Deneuve’s body)’. 5 In this sense, at least, the traditional focus of the thriller on the enigma of the depleted male body is refocused onto the female body. As we shall see at the end of the chapter, the issue of embodiment is a key turn in certain thrillers of the late 1990s, and is

in European film noir
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Corporeal cinema and film philosophy

Jean Epstein, born in Warsaw, was raised in Switzerland, but it was Brittany where he made some of his best films. He was famous yet misunderstood, original yet held to be idiosyncratic and poetic to a fault, consistently referred to by most critics as a key theoretician. Using familiar genres, melodramas and documentaries, he hoped to heal viewers of all classes and hasten social utopia. This book offers the first comprehensive introduction to and preliminary study of Epstein's movies, film theory, and literary and philosophical criticism in the age of cinema. Diluted into a single word, photogénie, his aesthetic project is equated with a naïve faith in the magic power of moving images, whereas Epstein insistently articulated photogénie in detailed corporeal, ethical and political terms. While Epstein scarcely refers to World War One in his writings or film work, it is clearly from this set of urgent questions that he began reflecting on art and literature. The New Wave movement in France in the late 1950s, put melodrama and avant-garde together feels oxymoronic if not sacrilegious. Epstein's filmography contains roughly an equal number of films that can be labelled fiction and documentary, a little over twenty, in each category. Epstein has opened the way for a corporeal cinema predicated on cinematography and montage rather than narration and mise-en-scène. Epstein's work in cinema, film 'theory', and philosophy, offers today a surprisingly contemporary set of movies, cinematographic idioms, and reflections on all the phenomena of cinema.