Corporeality in Early Cinema

Viscera, Skin, and Physical Form

Nonfiction, Entertainment, Film, History & Criticism, Performing Arts
Cover of the book Corporeality in Early Cinema by , Indiana University Press
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Author: ISBN: 9780253033680
Publisher: Indiana University Press Publication: October 16, 2018
Imprint: Indiana University Press Language: English
Author:
ISBN: 9780253033680
Publisher: Indiana University Press
Publication: October 16, 2018
Imprint: Indiana University Press
Language: English

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.

Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Corporeality in Early Cinema inspires a heightened awareness of the ways in which early film culture, and screen praxes overall are inherently embodied. Contributors argue that on- and offscreen (and in affiliated media and technological constellations), the body consists of flesh and nerves and is not just an abstract spectator or statistical audience entity.

Audience responses from arousal to disgust, from identification to detachment, offer us a means to understand what spectators have always taken away from their cinematic experience. Through theoretical approaches and case studies, scholars offer a variety of models for stimulating historical research on corporeality and cinema by exploring the matrix of screened bodies, machine-made scaffolding, and their connections to the physical bodies in front of the screen.

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