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Hitchcock and the Cinema of Sensations


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Table of Contents

Introduction PART 1: THE THEORY 1. Film and Embodiment: New Sensations in Spectatorship 2. Philosophy and Embodiment: Re-figuring the Corporeal Self 3. Neuroscience and Embodiment: Exploring the Thinking Flesh PART 2: THE FILMS 4. On Hitchcock 5. On Taste and Digestion 6. On Smell 7. On Hearing 8. On Touching Conclusion

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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 book rethinks the body in the cinema seat, charting the emergence of embodied film theory and the developments in philosophy, neuroscience, and film theory.

About the Author

Paul Elliott is Lecturer in Film at the University of Worcester. He has previously published on Deleuze and Guattari, embodied film theory and the cinema of Shane Meadows and has given papers on the intersections between cinema and neuroscience, psychoanalysis and phenomenology.


'This book is a confident and original intervention in the field of contemporary film theory. Elliott asserts the crucial role of sensorial engagement in film viewing and details its cinematic expression. His theoretical scope is impressively broad-ranging and includes the evidential findings of neurology and biology, art and cultural studies in order to locate the relevance of its concerns beyond the subject-specific limits of film studies. It provides a seamless integration of relevant conceptual 'machines' such as those of phenomenology into a well-informed and precisely illustrated knowledge of the cinematic medium.' - Anna Powell, Senior Lecturer in Film and English, Manchester Metropolitan University; 'This is a fascinating and elegantly written account of questions of the 'scopic regime' in film theory. In foregrounding the body and its multiple sense responses in film reception, this book promises to add a new dimension to readings of Hitchcock's work and its impact on audiences. This project offers a very useful complement to the critical approaches of Jonathan Crary, Laura Marks, Barbara Kennedy, Vivian Sobchack, and others interested in expanding film interpretation beyond the realm of the visual.' - Jeffrey Geiger, Senior Lecturer in Film, University of Essex, Editor of the Norton Guide to Film Analysis

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