Writing on the relationship between war and cinema has largely been
dominated by an emphasis on optics and weaponised vision. However,
as this analysis of the Hollywood war film will show, a wider
sensory field is powerfully evoked in this genre. Contouring war
cinema as representing a somatic experience of space, the study
applies a term recently developed by Derek Gregory within the
theoretical framework of Critical Geography. What he calls
"corpography" implies a constant re-mapping of landscape through
the soldier's body. These assumptions can be used as a connection
between already established theories of cartographic film narration
and ideas of (neo)phenomenological film experience, as they also
entail the involvement of the spectator's body in sensuously
grasping what is staged as a mediated experience of war. While
cinematic codes of war have long been oriented almost exclusively
to the visual, the notion of corpography can help to reframe the
concept of film genre in terms of expressive movement patterns and
genre memory, avoiding reverting to the usual taxonomies of generic
texts.
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