In comparison to activist films with an “in your face” aesthetic, Food, Inc. seems positively tame. Rather than shock viewers with direct images of distasteful, disgusting, immoral, and outrageous practices in the food industry, it provokes and performs physical and moral disgust by its paradoxical (and perhaps quintessentially documentary) combination of proximity and immediacy with distance and delay. This close textual analysis reveals the film’s use of images to defer, deflect, and dodge, in such a way as to emphasize the (...) temporal ‘lag time’ that Sara Ahmed argues is intrinsic to disgust and that connects as well to what Malin Wahlberg calls ‘documentary time.’. (shrink)

What might a synaesthetic cinema look like? Or, better, what might it sound, smell, taste and feel like? This essay approaches David Lynch's Mulholland Drive as a means of thinking through conceptual but concrete descriptions of synaesthesia not as an artistic device, a metaphor, an historical trend, or a rare clinical condition, but as a way of being in space and time — and being in cinema — that is simultaneously abstract and very real. Lynch's film becomes, as well, an (...) opportunity to think about cinematic spectacle and ‘excess’ in sensorily specific ways. The hallucinatory sensual disjunctions that occur throughout the film reveal a double system of reference: vision and proprioception mutually informing and interrupting one another, in ways that recall Brian Massumi's discussion of topological architecture. Those moments of cinematic, sensory ‘excess’ are sensual reminders of the degree to which vision is entangled with other senses in the experience of cinema. (shrink)

This paper examines masculinity in relation to the modern tracking shot in Daren Aronofsky's The Wrestler and Derek Cianfrance's The Place Beyond the Pines. These films make prominent use of a particular tracking shot in which the camera floats behind a male character, his head neatly centred in the frame. The camera in these ‘follow-shots’ seems unmistakably but loosely tethered to the character's body. This paper attempts to ascertain the phenomenological nature and critical significance of that relationship, which in recent (...) films expresses the intimate distance and dissonance between mobile cameras, masculinity and the male body in the twenty-first century. (shrink)

By now it goes without saying that cinema is and has always been a synesthetic experience. But what exactly do we mean when we say that? The paper develops a phenomenology of “cinematic synesthesia” that draws upon three recent developments: first, the neuroscientific “neonatal synesthesia hypothesis”; second, Maurice Merleau-Ponty’s lectures on child psychology and translator Talia Welsh’s contextualization of that work within recent developmental psychology; and third, Dylan Trigg’s concept of a “darkened phenomenology” that accounts for the radically “unhuman.” These (...) conceptual lenses are trained on Stanley Kubrick’s The Shining, whose legendary impact stems from its perplexing tangle of the sensory with the cognitive, the unconscious with the conscious, the individual with the collective, and the past with the present. (shrink)