What Makes a Film Tick?

Rutherford, Anne

doi:10.3726/978-3-0351-0256-7

Cited by 30 publications

(7 citation statements)

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“…She took the thesis of Gibson that perception is always an environmental process. That means that the perception of a body always relates to the ground: what a body does and feels in relation to the ground [6]. Then she summarized that perception and embodied experience always have an affective dimension.…”

Section: The Visual Perception In Cinema and The Affectmentioning

confidence: 99%

Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik

Merdhi

Imanjaya

2022

IOP Conf. Ser.: Earth Environ. Sci.

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Cinema, particularly documentary, can be a powerful vehicle for raising awareness of environmental sustainability. In the paper, the documentary film Pulau Plastik (Dandhy Laksono and Rahung Nasution 2021) is the subject of analysis. The film has its premiere at the end of April 2021 in the cinema theatre in Jakarta, Yogyakarta, Surabaya and Denpasar and shows the plastic waste and its environmental damage. The documentary uses mise-en-scéne in its plot to evoke certain experience and emotion of the audience which we will examine its role and its psychological impact with the texts of the French philosopher Maurice Marleau-Ponty in the Philosophy of Embodiment, American experimental psychologist James Gibsons in Ecological Perception and American philosopher Sue Cataldi in Feelings, Depth and Flesh. The directors also use Cinéma Vérité Approach to strengthen the effect towards audience.

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Section: The Visual Perception In Cinema and The Affectmentioning

confidence: 99%

Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik

Merdhi

Imanjaya

2022

IOP Conf. Ser.: Earth Environ. Sci.

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“…The curator of the Whitney Museum, Chrissie Iles, argued that in ‘the immersive space of contemporary commercial cinema … you’re passive and motionless, and you’re transfixed by the image’ (p. 15). These descriptions invoke an understanding of film spectatorship that is anathema to many film scholars who have spent decades debunking this notion of the disembodied spectator (see, for example, Barker, 2009; Curtis, 2008; Hansen, 2012; Marks, 2000; Rutherford, 2011; Shaviro, 1993; Sobchack, 1992). A key aspect of redefining the film spectator has been a recognition of the capacity of the two-dimensional cinematic image to evoke a kinesthetic embodied response.…”

Section: A New Hybridisation: Architecture Exhibition and The Moving Imagementioning

confidence: 99%

Space, Body and Montage in the Hybrid Installation Work of William Kentridge

Rutherford

2014

Animation

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This article explores the recent animated film installations and operatic stage direction of William Kentridge to conceptualise emerging trends in installation work, artists’ cinema and hybrid forms of the moving image. Kentridge opens new horizons for the articulation of the moving image with architectural space, reimagining the nature of film. Through a study of Kentridge’s installation, I Am Not Me, The Horse Is Not Mine’, his staging of the Shostakovich opera, The Nose, and his installation work at documenta 13, the article explores how Kentridge mobilises the full potential of the material encounter with the filmic image in new forms of dynamic montage. Drawing on understandings of the tactile, sensory, kinaesthetic engagement with the image, the article examines how Kentridge incorporates the three-dimensional spatiality and materiality of an exhibition/architectural space into the filmic. Through this enquiry, the article considers the broader significance of Kentridge’s work for reconceptualising cinematic experience.

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“…We recognize the materiality of film -that it engages tactile, sensory and kinaesthetic registers as essential dimensions of spectatorship -and the trope of the spectator as a disembodied set of eyes, popular in 1980s film theory, has long since lost its lustre. Even a cursory foray into contemporary film studies should alert the reader to the sophisticated and nuanced understandings of embodied cinematic experience developed over decades, and the need for an interdisciplinary awareness in any investigation of the reception of the moving image in the museum space (Barker 2009;Marks 1999;Rutherford 2011;Sobchack 1992). Even so, the differences between embodied cinema spectatorship and the different kind of physicality of the viewer of installation work challenge the ways the embodied spectatorship of cinema has been theorized by film scholars, demanding a rethinking and clarification of these insights.…”

Section: Introduction: Cinema Studies and Moving Image Installationmentioning

confidence: 99%

Moving image installation, the embodied spectator of cinema and Amar Kanwar: Learning from intermediality

Rutherford

2014

New Cinemas: Journal of Contemporary Film

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This article juxtaposes cinema and moving image installation to question the ways cinema studies has understood embodied spectatorship. Through a close study of Amar Kanwar’s moving image installation, The Sovereign Forest, exhibited at ‘documenta 13’, the article draws on an intermedial approach to explore emerging transformations in the phenomenological dynamics of the moving image. The article explores how the concrete, multisensory experience of Kanwar’s installation trains the sensorium of the viewer, opening new possibilities for the moving image. This concrete physicality serves as a point of reference to refocus and sharpen the understanding of the more complex kinaesthetic dimensions of cinema spectatorship.

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What Makes a Film Tick?

Cited by 30 publications

References 0 publications

Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik

Documentary Cinema, Plastic Waste Problem, and Environmental Sustainability: the Case of Pulau Plastik

Space, Body and Montage in the Hybrid Installation Work of William Kentridge

Moving image installation, the embodied spectator of cinema and Amar Kanwar: Learning from intermediality

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