The place of breath in cinema / Davina Quinlivan.

By:

Quinlivan, Davina [author.]

Material type: Text

text

Media type:

computer

Carrier type:

online resource

ISBN:

9780748649006
074864900X
9780748664740
0748664742
9780748664733
0748664734

Subject(s): Genre/Form:

Additional physical formats: Print version:: Place of breath in cinema.DDC classification:

791.4301 22

LOC classification:

PN1995.9.B62 Q56 2012

Online resources:

Click here to access online

Contents:

Introduction: troubling invisibility and the breathing body -- The haptic logic of a breathing body: elemental topographies of memory and loss -- An 'air in flesh': an anatomy of breath, carnality and transcendance: the breathing bodies of David Cronenberg -- Towards inter-subjectivities of breath and the breathing film viewer: Lars von Trier's 'Gold Heart' trilogy -- Conclusion.

Summary: PitchHow can the cinema articulate the interstices between visibility and invisibility, and how are such notions of absence and the unseen implicated in the film experience? This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship. Quinlivan puts forward a mode of critical engagement with film shaped by the foregrounding of the human body in the filmic diegesis and the viewing experience. The book's foregrounding of the human body as an, importantly, breathing body in film, coupled with its fresh engagement with continental philosophy, Post-Structuralist Film Theory and Contemporary Western Cinema, makes a unique and valuable contribution to the field.

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Item type	Home library	Collection	Call number	Materials specified	Status	Date due	Barcode
Electronic-Books	OPJGU Sonepat- Campus	E-Books EBSCO			Available

Includes bibliographical references and index.

Filmography: pages 185-187.

Print version record.

PitchHow can the cinema articulate the interstices between visibility and invisibility, and how are such notions of absence and the unseen implicated in the film experience? This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship. Quinlivan puts forward a mode of critical engagement with film shaped by the foregrounding of the human body in the filmic diegesis and the viewing experience. The book's foregrounding of the human body as an, importantly, breathing body in film, coupled with its fresh engagement with continental philosophy, Post-Structuralist Film Theory and Contemporary Western Cinema, makes a unique and valuable contribution to the field.

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