When we talk of "seeing" a film, we do not refer to a purely
visual experience. Rather, to understand what we see on screen, we
rely as much on non-visual senses as we do on sight. This new book
rethinks the body in the cinema seat, charting the emergence of
embodied film theory and drawing on developments in philosophy,
neuroscience, body politics and film theory. Through the prism of
Alfred Hitchcock's films, we explore how our bodies and sensual
memory enable us to quite literally 'flesh out' what we see on
screen: the trope of nausea in "Frenzy," pollution and smell in
"Shadow of a Doubt," physical sound reception in the" Psycho"
shower scene and the importance of corporeality and closeness in
"Rear Window." We see how the body's sensations have a vital place
in cinematic reception and the study of film.
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