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LEADER 00000cam a2200361 a 4500 
005    20130827232043.0 
008    130820s2011    enk           000 0 eng d 
009    99312443701751 
010    2011284711 
019 1  48036241 
020    9781848855878 (hbk.) 
020    1848855877 (hbk.) 
024 8  40020155259 
040    NLE|cNLE|dYDXCP|dUAT|dDLC 
042    lccopycat 
082 04 791.430233092|222 
100 1  Elliott, Paul,|d1972- 
245 10 Hitchcock and the cinema of sensations :|bembodied film 
       theory and cinematic reception /|cPaul Elliott. 
264 31 London ;|aNew York :|bI.B. Tauris :|bDistributed in U.S. 
       exclusively by Palgrave Macmillan,|c2011. 
300    231 pages ;|c22 cm. 
490 0  International library of visual culture ;|vv. 2 
504    Includes bibliographical references and index. 
505 0  Machine generated contents note: pt. One The Theory -- 
       1.Film Theory and Embodiment: New Sensations in 
       Spectatorship -- 2.Critical Theory and Embodiment: 
       Refiguring the Corporeal Self -- 3.Neuroscience and 
       Embodiment: Exploring the Thinking Flesh -- pt. Two The 
       Films -- 4.On Hitchcock -- 5.On Taste and Digestion -- 
       6.On Smell -- 7.On Hearing -- 8.On Touching. 
520    What happens to us when we 'see' a film? For the 
       experience of what we see on screen draws as much upon the
       non-visual senses as it does on sight. In the first full-
       length analysis of the concept of embodied film theory, 
       Paul Elliott charts the development of a 'cinema of 
       sensations' - examining how cinema audiences use their 
       corporeal selves and sensual memory to quite literally 
       flesh out what they see on screen. -- 
520    Through the prism of Alfred Hitchcock's films, Paul 
       Elliott reveals how the body's sensations have a vital 
       place in cinematic reception and the study of film: 
       demonstrated here through 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. He traces the 
       way in which conceptual tools such as haptic vision, 
       synaesthesia, physical sound reception and the 
       aesthesiological body have been employed by film theorists
       and philosophers to better understand the processes 
       inherent in the cinematic experience. He argues that the 
       trend towards a sensually based theoretical framework for 
       film is indicative of a wider trend in visual thinking 
       that is, in turn, linked to epistemological shifts and 
       transformations in the way we situate ourselves in the 
       world. -- 
520    Hitchcock and the Cinema of Sensations rethinks the body 
       in the cinema seat, seeing it not as a fleshy, insentient 
       shell for the mind and eye but a feeling, thinking, 
       evanescent site of sensation, memory and knowledge. The 
       book provides a thoroughly new take on Hitchcock's classic
       films in order to demonstrate how taste, smell, hearing 
       and touch can provide us with a corporeal level of 
       understanding that sometimes complements, sometimes 
       clashes with, our more cognitive capabilities in the 
       reception of film. This is essential reading for scholars 
       and students of film studies, cultural theory and 
       philosophy. --Book Jacket. 
600 10 Hitchcock, Alfred,|d1899-1980|xCriticism and 
       interpretation. 
650  0 Senses and sensation in motion pictures. 
984    VFED:G|cheld