Spectatorship, Embodiment and Physicality in the Contemporary Mutilation FilmSpectatorship, Embodiment and Physicality in the Contemporary Mutilation Film explores 'physical spectatorship': the representation of mutilation on the screen and the physical responses this evokes. The book is organised around the study of a series of dynamic engagements that reconfigure the film-viewer relationship. |
Contents
| 1 | |
1 Embodied Voyeurism | 19 |
2 Mutilation as Spectacle | 42 |
SelfHarm as Affect | 60 |
4 Extreme Frequencies | 80 |
5 The Gut | 102 |
Conclusion | 126 |
Notes | 135 |
| 170 | |
Filmography | 180 |
| 184 | |
Other editions - View all
Spectatorship, Embodiment and Physicality in the Contemporary Mutilation Film Laura Wilson No preview available - 2018 |
Common terms and phrases
aesthetics affect analysis anxiety argues assault audience blurred bodily body camera chapter close-up consider create Darren Lynn Bousman defined disgust Dr Heiter Eli Roth embodied engagement Esther example experience explore faeces female film-viewing film’s spectatorship filmic flesh focus further Gaspar Noé gaze genre Gothic haptic horror cinema horror film Hostel and Saw Human Centipede identification image in movement image in stasis interrogate Irréversible James Wan Josh’s l’intérieur looking Marina de Van Martin masochistic mode of spectatorship mutilated wound image mutilation film narrative nausea ocular-specular on-screen particular Paxton Peau physical responses physical spectatorship pleasure point-of-view shots position potential process of mutilation question rape refers representation sadistic Sarah Saw films Saw II–3D Saw III scream screen self-harm sense shift skin slasher slasher film Sobchack sound soundtrack spectator and viewer spectatorship suggest suspense theory tion torture porn victim viewer and film viewer and spectator visceral visual vomit voyeurism voyeuristic