The Body in Film

Since its beginnings, Luchino Visconti’s career was characterized by scandals, controversies, censures and even seizures, as a consequence of a particularly reactionary context but also of a transgressive intention which found its main expression in the representation of alternative sexualities and masculinities. Through a large amount of unpublished documents preserved in various archives and among Visconti’s papers, this book aims to study this largely overlooked aspect of Visconti’s work in relation to its cultural context, focusing on five case studies: the staging of Marcel Achard’s “Adamo” (1945) and Giovanni Testori’s “L’Arialda” (1961), and the films “Ossessione” (1943), “Senso” (1954) and “Rocco e i suoi fratelli” (1960).

(from editor's introduction): "...Alla Gadassik continues the focus on new technologies, moving beyond discussing CGI's function in bringing the ghost to (nonorganic) life to explore the way animation is itself, to an ever greater degree, a ghostly technique that threatens to erase or spectralize the bodily presence of the animator."

This article focuses on David Cronenberg’s representation of monstrosity as a form of knowledge, particularly when connected with sexuality. After a discussion of Robin Wood’s harsh criticism of Cronenberg’s works on this respect, the essay elects “The Fly” as a case study, analyzing its development from Kurt Neumann’s 1958 version to Cronenberg’s one, passing through Pogues’ first screenplay.

This article offers an analysis of Claire Denis’s film Beau travail (1999) as a free adaptation of Herman Melville’s classic Billy Budd. A compa- rative perspective is adopted to identify the specific transformations in the rewriting process, with attention to changes in focalisation and plot, as well as the film’s potential as a queer adaptation of Melvi- lle’s novella. Central to these relationships is the use of bodies, which creates a narrative that challenges both our expectations of a literary adaptation and the gender conventions of the film medium. In this way, the study finds that Beau travail is a benchmark case for defi- ning transformative potential of adaptations.

A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The 'tensive motifs' of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams and offer embodied forms of transcendence of the limits of our human condition along with an awareness of their insurmountable nature. Adopting the approach of 'Neurofilmology'—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.

Tutti i saggi pubblicati sono stati sottoposti a un processo di peer review del tutto anonimo (double blind), ad opera di due referee esterni alla rivista, specialisti del tema trattato ed appartenenti a istituzioni diverse da quelle degli autori.

„Rozprawa Karola Jachymka jest niezwykle rzetelnym tekstem o filmie polskim lat sześćdziesiątych, dającym z jednej strony bardzo szeroką panoramę tego zjawiska, z drugiej zaś szereg pogłębionych i ciekawych analiz […]. Lata sześćdziesiąte definiowane przez film tego okresu jawią się – czego jak dotąd w piśmiennictwie poświęconym historii filmu zdecydowanie brakowało – jako epoka w istocie zróżnicowana i pełna wewnętrznych napięć”.

prof. Barbara Głębicka-Giza

„Karolowi Jachymkowi udała się sztuka trudna – powiedział coś nowego o epoce, która doczekała się już mnóstwa opracowań i jest (pozornie) świetnie znana i naukowo rozpoznana. Praca ta skutecznie dowodzi, że można jeszcze odnaleźć w latach sześćdziesiątych dzieła i twórców zapomnianych lub konsekwentnie pomijanych, a także zinterpretować twórczość filmową sprzed pół wieku w sposób nowatorski i otwierający nieeksplorowane dotychczas pola i obszary badawcze”.

prof. Arkadiusz Lewicki

http://wnkatedra.pl/pl/p/Film-cialo-historia-Karol-Jachymek/22522488

http://akademiapolskiegofilmu.pl/pl/historia-polskiego-filmu/artykuly/ewa-krzyzewska-i-chlopcy/602

The body, whether considered in terms of biology, sociology or religion, is an inherent constituent of that which makes a human subject, complementing the mind and being subject to it. The only space that offers the body the freedom to be treated separately from the mind-subject that otherwise defines it at all times, is horror fiction. In horror fiction the body is free to rebel; horror texts rely on narrative strategies that refer to the intimate connection between the flesh and the mind. The mutiny of the body in horror fiction takes the form of the reversal of the relation between the mind-subject and the body. The aim of this paper is to identify and discuss the two best known and most common manifestations of this motif in horror fiction — manifestations known from legends and the earliest texts of the genre, both literary and cinematic: the animalised body and the undead body, represented by the werewolf and the zombie.

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Note: 1,0 Einleitung Die künstlerisch produzierten Bilder über den Alltag in der DDR unter den Machtverhältnissen der SED-Diktatur haben die heute gängigen Vorstellungen über sie entscheidend geprägt. Gerade die unverwechselbaren Ästhetiken von DEFA-Spielfilmen trugen zur Distribution einer phänotypischen Bildwelt dessen bei, was man sich einst als Sozialismus dachte. Die vorliegende Arbeit beschäftigt sich mit der Frage, wie das Repräsentationssystem DEFA-Kino als (eine staatlich monopolisierte) Technologie des Geschlechts 1 operiert und in den 1950 und 60er Jahren Körper-und Geschlechterbilder produzierte, die ein, sich von westlichen Entwürfen unterscheidendes, Geschlechterbildgedächtnis der deutschen Teilung nach 1945 generieren. Sie interessiert sich darüber hinaus für die in der deutschen Teilung entwickelte kulturelle Ost/West-Alterität und ihre symbolischen Vergeschlechtlichungen. 2 Die Untersuchung geht davon aus, dass im kulturellen Diskurs verschiedener Identitätspolitiken die Verhandlung von Körper, Sexualität und Geschlecht eine zentrale Rolle einnimmt. Diese fungieren als Territorien, Markierungen und Reproduzenten der Mythen der Nation und politischer Utopien: Geschlechterbeziehungen stehen sowohl im Zentrum kultureller Bilder gesellschaftlicher Identitäten und Gruppen als auch im Mittelpunkt der meisten kulturellen Konflikte und Auseinandersetzungen. 3 Für die Modellierung von nationaler Identität ist der Komplex Körper-Geschlecht-Generativität gegenüber anderen Symbolsystemen wegen seiner epistemischen Verwandtschaft der beiden zentralen Figuren des Nationalcharakters und des Geschlechtscharakters von herausragender Bedeutung. 4 Vor diesem Hintergrund werden die Fiktionalisierungen von Köper und Geschlecht in DEFA-Spielfilmen als Aktanten nationaler Identitätsstiftung unter den politischen Machtverhältnissen in der DDR kenntlich gemacht. Dabei befindet sich die Geschlechterperformance des Neuen Menschen als liminaler Verhandlungsort von nationalkultureller Kontinuität und politischer Normierungspraxis im Mittelpunkt der Filmanalysen. Das DEFA-Kino wird als kulturelles Repräsentationssystem verstanden, das sexuelle Differenz und die Heteronormativität der symbolischen Ordnung (re)produziert. Auf der Folie der Gleichberechtigungspropaganda der Geschlechter in der 1 Lauretis 1987. 2 Der Begriff der kulturellen Alterität meint die, in modernen Kulturtheorien sedimentierten, kulturell vorgegebenen, tiefenstrukturellen Wahrnehmungs-und Werteparadigmen, die Differenzen motivieren. Nünning (2005). S.1-2. 3 Yuval-Davis (2001). S.68. 4 Loster-Schneider (2003). S.11. Kapitel 1 | Gender, Körper und Nation 1.1 Gender im Alteritätsdiskurs der deutschen Teilung Untersuchungsmaterial für westliche Projektionen einer ostdeutschen Kultur liefert die Bildpublizistik der deutschen Wiedervereinigung. Dort werden kulturelle Distinktionen und Leitdifferenzen zwischen Ost und West ganz selbstverständlich über Körper-und Geschlechterbilder ausgetragen: within the discourse of unification the German Democratic Republic (GDR) was often caricatured with female images, characterized by naiveté, dependency, and weakness, whereas the Federal Republic of Germany (FRG) was depicted as strong, male, and aggressive. 7 In den Bildern eines wilden und natürlichen Ostens nährte der Westen sein Selbstbild einer überlegenen Zivilisation: In der Zone hatten sich die Menschen eine unverdorbene Natürlichkeit bewahrt und eine ungebrochene Beziehung zur Körperlichkeit 8 gepflegt, die angeblich keine sexuellen Tabus gekannt hatte. 9 Im Zentrum der westlichen Phantasien fand sich die Ost-Frau mit einem ihr zugeschriebenen natürlichen und exotischen Sexualcharakter 10 : Als die DDR-Frau sich nach 1990 rasch zur Ostfrau wandelte, glich ihr Bild einer postfeministischen Männerphantasie: In der Freikörperkultur hatte sie den unbefangenen Umgang mit dem eigenen Körper und im reizarmen DDR-Alltag die vollen Genüsse des Sex erlernt. 11 Die sexuelle Semantik setzte sich auch in der Bildpublizistik der Wiedervereinigung als Ehelichung eines heterosexuellen Paares durch, die jene Mischung aus Andersartigkeit und Einigkeit, aus Fremdheit und Zusammengehörigkeit, aus heftigem Begehren und alltäglicher Gemeinsamkeit, die auch auf den nationalen Vereinigungsprozess zwischen Euphorie, Ernüchterung und Selbstverständlichkeit zutrafen 12 , symbolisierte. Die Paarmetaphorik verweise auf eine Vergeschlechtlichung in den Deutungen der deutsch-deutschen Einheit, so Ina Dietzsch. 13 Im Ehebild bekam die DDR (Osten) stets den weiblichen Part zugewiesen, die BRD (Westen) den männlichen. Während die Bildpublizistik in der frühen Nachkriegsgeschichte beiden Teilstaaten noch als Brüder 14 darstellte, gingen alle Analogien des Vereini-7 . S.16. 4 gungsprozesses (...) von einem Ungleichgewicht zwischen beiden Teilen aus. 15 In der symbolischen Repräsentationsfigur eines weiblichen Ostens bediente man sich tradierter hegemonialkultureller Leitdifferenzen, denn der westeuropäischen Kulturtheorie des Ostens sind hierarchische Muster struktureller Ungleichheit implizit, so der Ethnologe Peter Niedermüller. 16 Die kulturelle Ostgrenze verlaufe dort, wo die Idee des zivilisierten, fortgeschrittenen und hoch entwickelten Westeuropa mit der Konzeption des zurückgebliebenen, unzivilisierten und barbarischen Osteuropa kontrastiere. 17 In das Klassifikationssystem Ost/West sind Hierarchien tief eingeschrieben und die Definitionsmacht über das, was als östlich gilt, liegt im Westen. 18 Die distinktiven Kodes mit denen sich der Westen den Osten bis heute konstruiert stammen dabei aus der Mottenkiste kulturevolutionärer Differenztheorien des 19.Jahrhunderts: Unizivilisierte Wildheit und Natur trifft auf bürgerliche Zivilisation und Kultur. In diesem Zusammenhang wurde der/die/das fremde ostdeutsche Gegenüber bildsemantisch kollektiv verweiblicht (effeminiert) und als wilde und natürliche Ost-Frau in einer heterosexuellen Ehe zivilisiert und versorgt. 19 Als weiblich markiert kam für die DDR nur die Verlierer-Rolle im historischen Prozess in Frage: Mit dem Verlust der staatpolitischen Souveränität verlor die DDR ihre Unabhängigkeit, ihre Modernität wurde in Frage gestellt, ihre Geschichte gleichsam entwertet. 20 Die Geschlechtermetaphorik der deutschen Vereinigung habe den Umgang mit den Ostdeutschen nach 1990 mit bestimmt, so Dietzsch. 21 1.2 Ideale Weiblichkeit und Natur der Frau Im Anschluss stellt sich die Frage, wie der Repräsentationszusammenhang zwischen einer DDR als Frau und Verliererin zustande kam und welche Deutungsmöglichkeiten sich darüber hinaus eröffnen? Die Rolle der ostdeutschen Frauen als Verliererinnen der Einheit 22 ist breit erforscht und einhellig beurteilt worden: Sie waren überproportional häufig von Arbeitslosigkeit, beruflicher Dis-15 7 zulassen. Im Folgenden soll es um Körper-und Geschlechterbilder in ausgewählten DEFA-Filmen gehen, mit denen die Identität der nationalen Gemeinschaft der DDR entworfen wurde. Kapitel 2 | Forschungsstand, Desiderata, Erkenntnisinteresse 2.1 DEFA-Film-Forschung Die DEFA-Filmforschung umfasst bis dato englischsprachige Forschungsarbeiten 44 aus dem Umfeld der Cultural Studies und einen breitgefächerten deutsch-deutschen Forschungsdiskurs 45 , um dessen Förderung sich insbesondere die DEFA-Stiftung verdient gemacht hat. 46 Es dominieren filmund medienwissenschaftliche Aufsätze, Monographien und Sammelbände, die sich zumeist mit Produktionskontexten von DEFA-Filmen beschäftigen. 47 Beliebte Untersuchungsobjekte sind weiterhin politische Ikonographien und Mythengestaltung 48 , Leit-und Feindbilder 49 , Jugendbilder 50 oder die Thematisierungen von Arbeits-und Alltagswelt 51 , Heimat 52 und Zukunft 53 vor dem Hintergrund der deutschen Teilung. Diese zumeist sozialhistorische Operationalisierung wird durch ideengeschichtlich motivierte Analysen der Ästhetiken und Inszenierungspraxen der symbolischen Ordnung ergänzt. 54 Die Zensurproblematik findet sich verstärkt im Zusammenhang mit der Rezeption der verbotenen, aus dem künstlerischen Kanon ausgeschlossenen, DEFA-Spielfilme der 1960er Jahre. 55 Die Genderthematik ist nach 1990 vornehmlich als berufliche und sexuelle Emanzipation von Frauen untersucht worden. 56 Dabei ging es häufig um den Wandel von Frauenbildern und gesellschaftskritische Aspekte des DEFA-Frauenfilms. 57 Sowie um die Darstellung sozial-, frauen-und geschlechterpolitischer Initiativen durch Filme. 58 Aufgrund der starken Präsenz von Frauenfiguren kursiert in der Filmforschung auch die These einer Entmaskulinisierung des DEFA-Kinos und einer Fe-

In Cinema’s Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, Trouble Every Day, the films of Buster Keaton, and many more.

Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.

1966 Twentieth Century Fox big-budget film Fantastic Voyage represents a corner stone around which a whole audiovisual trope was built. The topic of the voyage of shrunken people sent to explore the inner space of the body was adopted since then by many feature films, television series and animated TV series, for the aims of education, entertainment or edutainment. While the exploration of the body (and, often, the meeting with its inhabitants) gives space to just a few possibilities of plot development, it leaves open ground for metaphors. Starting from the hypotext, this article analyzes a sample of audiovisuals to try to summarize a taxonomy of narrative schemes and the diffferent metaphors (and their uses) that our body can host.

“I’ve Got you under my Skin: Narratives of the Inner Body in Cinema and Television”, Nuncius. Journal of the material and visual history of science, vol. 26 (Ways of Voyaging Through the Human Body), 2011, pp. 201-221.

What is the relationship between cinema and the baroque? How might it be figured and felt?

In Cinema’s Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.

This article is a theoretical examination of tactility in the Czech surrealist filmmaker Jan Švankmajer's film Down to the Cellar (1983). Švankmajer's deployment of tactile images in a surrealist context shows the need for a discussion of the imagination's role in the embodied film experience. Departing from Laura Marks's The Skin of the Film, this article seeks to explore the surrealist embodied imagination through surrealist poetics of analogy, as defined by André Breton, and the link between these and Walter Benjamin's writings on mimesis. Finally, the film is viewed from the perspective of Gaston Bachelard's ideas of “the imagination of matter,” where matter is seen as a highly potent stimulant for the imagination. Bachelard's notion of the imagination's multisensory properties further lends credence to Švankmajer's aims to liberate the imagination of the spectator through images that invoke touch.

How does a unit of space become a home? From a phenomenological perspective, the response to this question has been to accent the lived relations we have with spatiality, both subjectively and intersubjectively. Thus, for Gaston Bachelard, homliness is predicated on the rapport between memory and imagination working in tandem (Bachelard 1994). But what has been overlooked in this tradition is what I’m calling the prehistory of the home. The life of an apartment does not begin and end with our own occupancy. Rather, it extends itself in time to accommodate those who come after us, and it attests to a history prior to us. In this paper, I explore these relations and tensions through situating Roman Polanski’s 1976 film The Tenant in dialogue with Bachelard. Polanski’s film is notable for eliciting the uncanny and anxiety-provoking rapport between the prehistory of an apartment and the identity of the dweller, such that there is an increasing loss of distinction between the two.

The article focuses on four films that display the exhibition for profit of non-normative bodies in a context that is variously called freak show, sideshow, monster show, odditorium. Freaks (Tod Browning, 1932), The Ape Woman (La donna scimmia, Marco Ferreri, 1964), Elephant Man (David Lynch, 1980) and Black Venus (Vénus noire, Abdellatif Kechiche, 2010) are reflexive movies that tell stories of abnormal bodies and of people who buy a ticket to see them. They inquire the fictional nature of “freakness” – a cultural and historical artefact, a social construction, a frame of mind and a set of practices – and draw attention to the continuity between the world of the freak shows and the scientific and medical milieus. The article finally considers the new visibility of the corporeal freak in contemporary voyeuristic television programs.

Alberto Brodesco, "Filming the Freak Show. Non-normative Bodies On Screen", in Medicina nei secoli. Arte e Scienza. Journal of History of Medicine, n. 26/1, 2014, pp. 291-312

In stark contrast to the abstraction and radical disembodiment of hi-tech virtual war, the mediascape of contemporary counter-insurgency is increasingly dominated by material that is lo-fi, intimate, multi-sensory and decisively linked to the embodied experiences and risks of soldiering. In this article, I explore the visual grammar and affective logics of two recent prominent public mediations of the war in Afghanistan, both dominated by the use of video footage recorded from camcorders mounted on soldiers’ helmets. Epitomized in this helmetcam footage, I suggest that it is through an emerging aesthetic regime of ‘somatic war’ – that foregrounds sensory immersion and real feeling, vital living and bodily vulnerability – that the endless war in Afghanistan is currently being made perceptible and palpable.

The representation of gender and sexuality is well-explored territory in film studies. In Film Bodies, Katharina Lindner takes existing debates into a new direction and integrates queer and feminist theory with film phenomenology. Film Bodies explores the female body's presence in a range of genres including the dance film, the sports film and queer cinema. Moving across mainstream and independent cinema, Lindner provides detailed 'textural' analyses of Black Swan, The Tango Lesson, 2 Seconds, Offside, Tomboy and Girlhood and discusses the queer feminist encounters these films can give rise to. This provocative book is of vital interest to students and researchers of queer cinema, queer/feminist theory, embodiment and affect and offers a unique new way of understanding the relationship between queerness, feminism, the body and cinema

The concept of the homosexual male gaze could arguably be attributed to three filmmakers of the post-modern underground film apparatus, in particular Andy Warhol, Kenneth Anger, and Jack Smith. Each through his own particular gaze was able to create a sub-genre of film content, which included either pornographic content or the implication of a sexual act, as well as a general eroticization of the male form.
It is interesting to consider the dichotomous purpose of female nudity to male nudity, particularly through the homosexual male gaze of the Avant-Garde. Usually, in narrative film the former is meant to arouse, the latter is meant to provoke. This brings us to the difference between feature film and pornography. Though full frontal of either gender could be attributable to pornographic content, the thin line between them lies within the exposure of male nudity particularly concerning the penis status. If the penis is phallic, it is acceptable under MPAA restriction to be admissible into the content of a film, while an erect penis immediately suggests pornographic content, and is still prohibited in the mainstream narrative.
Thereby, this particular sub-genre within the Avant-Garde movement of American filmmakers can be considered an early precursor to the New Queer Cinema movement in its ability to toy with the functions of sexual images within their mise-en-scene and providing the viewer with not only a voyeuristic pleasure as Mulvey would describe it, but a disconnect with filmic sexual status quo.
I believe an interesting way to approach this dichotomy, and the very nature of this sexual contrast is to analyze the trajectory of the admission of nudity and sexual suggestion into films. In my opinion, the era of post-modern Avant-Garde is an interesting starting off point as it illustrates the bridging of the gaps between the artistic and the pornographic, as well as transgressing what is taboo to what is experimental.
The most obvious and perhaps first example of this is Jack Smith’s Flaming Creatures (1963), which graphically examined and subsequently deconstructed sexuality in all of its forms. The film permeates with gratuitous nudity, both male and female. The strange thing seems to be that though the subjects of the film find themselves proprietors of a vast orgy, there is never a point in which any of them engage in any sexual acts. They lie amidst the mise-en-scene, fondling each other and becoming seemingly aroused. It is the implementation of nudity rather than the act of sex itself for arousal. The way in which the characters use each other’s genitals suggest a childlike curiosity with the human form as an infant approaches the presence of his mother’s breast, or a child begins to discover his own genitalia. It is completely de-sexualizing to where their acts are more comic than sensual. In this we see, that genitalia, particularly male genitalia has a use in film different from any form of sexual suggestion. It is an apparatus of play and curiosity rather than the act of sex, which is how it is usually perceived.
Conversely, there is the work of Kenneth Anger, who’s Scorpio Rising (1964) was released only a year after Flaming Creatures. At no point in the film, is there any male nudity, though the film’s focus is a hyper-eroticism of the male form. There are various scenes of young men, dressing themselves, working out, and being generally macho. Every shot has a profound element of sensuality, and yet avoids any blatant depiction of genitalia. Thus, it can be deduced that while the male form can be eroticized by showing it artistically and with a kind of filmic finesse that eroticizes certain parts like arms, legs, and chests, the presence of male genitalia would immediately de-sexualize this mise-en-scene and devoid the subject of desirability.
And though both of these filmmakers can be classified strictly into the same categoruy regarding Avant-Garde film of a certain movement, with the addition of Andy Warhol, we can begin to see the birth of what would eventually become New Queer Cinema. I am of the opinion that it is particularly their utilization of the male form and disregard for narrative filmic ideology that challenged the notion of “proper” and “improper” content by making the gratuitous symbolic, and the innuendo sexual.
In regards to Warhol, he was able to bring humor to the whole question of showing or not showing. The perfect illustration of this is the content of the film Blow Job (1964).  The title of the film suggests the presence of a sexual act, but the audience is robbed, as the entirety of the film is a close up of a man’s face in mid-act. We see his face contort and exude internal pleasure, but there is always the question if he is actually being fellated, or if we as the audience are in on a continuous joke as he could be simply acting. Warhol never lets his audience find out. But the suggestion of the act through the title is enough for the audience to put their trust in the questionable integrity of the film. He is able label his film blatantly enough so that it suggests outright pornographic content, and subsequently denies the film the very same content that would make it so. The film Blow Job thus becomes its own contradiction, it is eroticizing an act which is not present in the mise-en-scene; eroticization without sexuality.
Considering this group of filmmakers and their implementation of sexual philosophy into a visual apparatus, we can begin to see a theoretical trend regarding the use of nudity, in particular the male genitalia as statements in themselves, considering their purpose within the content of the films.

Cinematically, Yoruba filmmakers represent different aspects of the Nigerian nation and various elements of traditional cultures, customs, and praxes. In particular, they pay close attention to the influences of supernatural powers and metaphysical agents in human times and affairs, and they represent them in elaborate visual narratives. Against this cinematic backdrop, this paper investigates the representations of àjẹ́, erroneously known as witchcraft, in Yoruba language films. The paper posits that contemporary Yoruba language filmmakers copy the cinematic models that the late Chief Hubert Ogunde and Alhaji Yekini Ajileye created to make movies about witches. By focusing on the representations of witchcraft in two purposefully selected films, Ìyá-Àjẹ́ (2017) and Àgbà-Mẹ́ta (2016), this article argues that the binary model that Yoruba filmmakers adopt in their portrayal of witches is a tired formula. Instead, this study proposes àjẹ́ism as a theoretical model for studying the àṣẹ vital force that witches own, as well as the relevance of àṣẹ to women's empowerment, civil protests, and space claiming. Thus, this essay proposes that we reimagine àjẹ́ as a cultural resistance tool that women can appropriate to fight injustices and oppressions.

In the 60s and 70s, Visconti consistently continues his transgressive work, mostly through the representation of alternative sexualities and masculinities. Nonetheless, the fast transformation of society, culture and politics, not to mention cinema itself, provokes a radical change in the discourses surrounding his works from "Il Gattopardo" ("The Leopard", 1963) to ‘"L'innocente" ("The Innocent", 1976). This book puts in context the films directed by Visconti in these years thanks to an extensive archival research and a philological analysis of Visconti's papers.

Following the controversial life of Ali (Malik Benchita) and his “sister-in-law” Habiba (Bouchta Saidoun), Hassene Belaïd, a Franco-Algerian author and director, depicts the struggles of transsexuals in modern Algeria in his short film The Brother-in-law (N’sibi), which is released in 2014.  The story is set in the suburbs of Setif, in Algeria, and it portrays the life of Ali, a young working-class man who is trapped in a siloed and mundane life, and his “sister-in-law” Habiba that challenges the Algerian social constructs by being a symbol of a rejected lifestyle. Ali finds himself forced to give a ride to Habiba one evening, where he gets to enter her world and discover the atrocities that she has to endure as a result of being a transwoman. Transsexuality in Algeria is tolerated as an anomaly supposed to entertain people, something that only exists in the realm of humour, but not as a reality.  Thus, this article reviews Belaïd’s short film and provides a close analysis to the representation of queerness in Algerian cinema. Drawing upon Kaya Davies Hayon’s study (2017), which investigates the question of the body in Maghrebi films, this article particularly addresses the complexity of corporeal depiction in Algerian cinema, the perception of sexual and gender identities in Algerian society, and the complex understanding of transgender identity in a masculine environment.

Nobel laureate Niko Tinbergen coined the term ‘supernormal stimulus’ after discovering that birds who lay small, pale blue eggs speckled with grey prefer to sit on larger, bright blue eggs with black polka-dots. He found that he could exaggerate the key qualities of any natural stimulus to produce a stronger reaction yet--be it nurturance, courtship, fear or aggression.
    Animals encounter supernormal stimuli mostly when experimenters build them.  Humans can generate their own and media are awash with them: friendly smiling faces more consistently welcoming than ones own friends, animated cartoon characters with wider eyes than any real child’s, seductive bodies exceeding any proportions found in nature, and a huge array of supernatural menaces.
    This chapter examines film, television, spectator sports, video games, and social websites as well as more traditional media such as print and musical performance in terms of the concept of supernormal stimuli.

Reflecting on Carolee Schneemann's description of her film Fuses as being a response to Stan Brakhage's Window Water Baby Moving, this essay studies both films and approaches the ways in which both form and content can be understood as similar or different, and analyses why this may be.

While the post-cinematic is typically understood as the passing of film-as-celluloid, the digital expressivity of film need not involve the loss of materiality.

Inspired by Giuliana Bruno’s call for cinematic materiality to be re-thought through the substance of material relations rather than through technological definitions, this article examines how the baroque endures in the post-cinematic. Concentrating my analysis on Birdman: Or, The Unexpected Virtue of Ignorance (Alejandro González Iñárritu, 2014) as one instance of the post-cinematic baroque, it argues for the baroque as being organised by particular vectors of movement that move between the horizontal and the vertical and the inner and the outer, often giving rise to composite and/or highly spatialized displays.

Taking inspiration from Gilles Deleuze’s philosophy of the fold, art history, media archaeology and film studies, I argue for Iñárritu’s film as enacting baroque configurations of body, space, movement and environment. As with the formal and affective uplift of the musical and superhero film genres as well as the movement in historic baroque forms, Birdman defies the horizontal plane. As I argue it, Birdman reprises the longstanding baroque desire to become space in every direction.

KAZALO UVOD PRVO POGLAVJE: Narava in vloga empatije v družbenih procesov Intencionalnost Empatija Tri oblike institucionaliziranega empatičnega delovanja Ali so empatični procesi nujni? Nekaj splošnih ugotovitev o družbeni naravi empatije DRUGO POGLAVJE: Mehka kognitivna zaprtost posameznikov Elementi družbene konstrukcije realnosti Eviatar Zerubavel: Uvod v kognitivno sociologijo Kaj pa meje družbene konstrukcije realnosti? Mehka kognitivna zaprtost posameznikov Onkraj empatije, konstrukcije družbene realnosti in mehke kognitivne zaprtosti

In post-Franco Spain, a re-shaping of notions of the masculine has been under way for some time. The authors of "Live Flesh" demonstrate how contemporary Spanish films, during this modern period, have contributed to this process. They do so by visualizing the ways in which Spanish men have been abandoning old self images and adopting new ones, and they explain and explore the complexity and diversity of these fresh cinematic creations of masculine identities. The book's point of focus is Spanish films of the democratic period, both popular and auteur, made by directors of national and international prominence, such as Pedro Almodovar, Alejandro Amenabar, Bigas Luna or Julio Medem, as well as films featuring acclaimed actors who have contributed to the construction of contemporary ideas of the masculine in their country, including Antonio Banderas and Javier Bardem. Using a fresh theoretical framework, embracing queer and feminist theory and concepts of nation, race and class, each chapter examines key films that represent the male body, highlighting notable elements - young, muscular, homosexual, (dis)abled, foreign and so on - and goes on to focus on recent case studies from the early 1990s to the present. An increasingly transnational Spanish cinema is a most promising field in which to explore questions of how male bodies are represented - and mediated - in film. "Live Flesh" more than fulfils this promise and goes further, to reveal how these representations have intervened in the Spanish cultural imagination.

""The article follows and develops Archambaults’ statement that the body politic was not “an inert, neutral literary topos,” but rather “[one] capable of betraying certain political inclinations”. Accordingly, the author presents how in the 17th and 20th  centuries the body politic paradigm struggled to encompass the experience of disease and in which way the Anglo American political discourse attempted to homogenise the social stratum associated with disease, that is, the silenced and excluded ones. The main point of the author is that the homogenising body politic discourse fails to address the needs of a pluralistic society; hence, it is being replaced with social designs more welcoming to seemingly discordant forces within contemporary society.

Główna myśl artykułu podąża za ideą Archambaulta mówiącą, iż koncept ciała politycznego pozostaje motywem nieobojętnym politycznie i wskazuje na inklinacje polityczne używającego go. Autor artykułu przedstawia, w jaki sposób paradygmat ciała politycznego zmaga się w XVII i XXI wieku z doświadczeniem choroby ustroju oraz jak angloamerykański dyskurs polityczny próbował ujednolicić element społeczny utożsamiany z chorobą, tj. człowieka wyciszonego lub wykluczonego. Głównym postulatem autora jest twierdzenie, że owe dyskursy, oparte na homogenizacji społecznej, nie odpowiadają już potrzebom pluralistycznego społeczeństwa i są zastępowane przez konstrukcje bardziej akceptujące inność elementu wywrotowego.""

Amir Naderi is one of Iran’s most internationally acclaimed directors, and he is considered to be among the central figures in the nation’s postrevolutionary film industry. Paradoxically, his choice to leave Iran in hopes of expanded artistic opportunities in the United States has cost him the critical and scholarly recognition bestowed on his former compatriots Abbas Kiarostami and Mohsen Makhmalbaf. This essay seeks to address this imposed cultural exile by analyzing Naderi’s work and situating him as an important diasporic Iranian filmmaker. Films discussed include The Runner (1985), the Manhattan Trilogy (1993–2002), Sound Barrier (2005), and Vegas: Based on a True Story (2008). The analysis foregrounds continuities of displacement and confinement between Naderi’s films about Iran and his subsequent portraits of the United States. The journeys and paths undertaken by Naderi’s protagonists are explored as reflections of a diasporic filmmaker who left the constraints of one home for the limitations of another.

This essay harnesses the aesthetics of the baroque to deepen and expand on what constitutes a contemporary 'cinema of sensation'.  Concentrating on Denis’ moody art/horror effort, Trouble Every Day (2001)—a film whose controversial premiere at Cannes has since given way to critical approbation—I develop a materialist account of the baroque and its sensuous re-surfacing in Denis’ film.

On-screen bodies are central to our engagement with film. As sensory film theory seeks to remind us, this engagement is sensuous and embodied: our physicality forms sympathetic, kinetic and empathetic responses to the bodies we see and hear. We see a body jump, run and crash and in response we tense, twitch and flinch. But whose effort are we responding to? The character’s? The actor’s? This article explores the contribution of an invisible body in shaping our responsiveness to on-screen effort, that of the foley artist. Foley artists recreate a range of sounds made by the body, including footsteps, breath, face punches, falls, and the sound clothing makes as actors walk or run. Foley is a functional element of the filmmaking process, yet accounts of foley work note the creativity involved in these performances, which add to characterisation and expressivity. Drawing on detailed analysis of sequences in Cabaret (Bob Fosse, 1972) and Die Hard (John McTiernan, 1988) which foreground exertion and kinetic movement through dance and physical action, this article considers the affective contribution of foley to the physical work depicted on-screen. In doing so, I seek to highlight the extent to which foley constitutes an expressive performance that furthers our sensuous perception and appreciation of film.

Das Genre des Coming-of-Age-Horrors verbindet das Erleben erster romantischer Gefüh-le und das Erwachen der Sexualität mit dem Ausbrechen des Animalischen und Monströsen als Äquivalent zur eigenen Lust. Davon ausgehend nähert sich dieser Aufsatz der Frage an, inwieweit der Queerbegriff dazu befähigt, ineinander verwobene Gegensätze wie diese zu definieren, ob-gleich sie über menschliche Körperlichkeit und sexuelle Orientierung hinausgehen. Funktioniert er im Sinne Mieke Bals (2002) als travelling concept, ohne dabei seine Definitionsmacht und Anwend-barkeit als Konzept zu verlieren? Um dies zu untersuchen, werden ausgewählte Filmsequenzen mithilfe von gender-und queertheoretischen Ansätzen analysiert. Der Aufsatz prüft, ob sich limi-nale Stadien wie die zwischen Mensch und Monster sowie Kind und Erwachsenem mithilfe des Queerbegriffs gewinnbringend betrachten lassen.

This essay brings Gilles Deleuze’s baroque to bear on the body-focused filmmaking of Philippe Grandrieux. Focusing on Un Lac (A Lake), it argues that Deleuze’s baroque contains a non-human and/or non-figurative potential that can be pushed cinematically to speak to Grandrieux’s densely textured aesthetic. While Deleuze’s engagements with Aloïs Riegl are well known, the essay also foregrounds the Swiss art historian Heinrich Wölfflin as a neglected contributor to Deleuze’s baroque. Combined, both Wölfflin and Deleuze articulate the baroque as a highly materialist aesthetic that is inclusive of surface texture, sound, depth and density as well as abstraction. Throughout The Fold, Deleuze’s baroque couples sensation with abstract form and thought ('folds in the soul'). By way of Un Lac, I detail how a painterly/baroque model of abstraction might be enacted in film. The tenderly enfolded world that Grandrieux portrays activates cinema as a medium of sensation and of immanent thought.

Il corpo parlante
Contaminazioni e slittamenti tra psicoanalisi, cinema, multimedialità e arti visive
A cura di Guido Bartorelli, Giovanni Bianchi, Rosamaria Salvatore, Federica Stevanin


Che cosa definisce l’uomo? Come si calcola il suo valore? Qual è l’unità di misura dell’umanità? L’ibridazione viene pensata oggi come uno dei temi centrali del contemporaneo e motore di discussione in questa sede. «Tutte le nostre storie hanno inizio dalla nostra fine, per- ché siamo mortali. E da quando abbiamo preso a raccontarle, il loro tema è stato sempre il desiderio di emanciparci dal corpo, diventando qualcosa di diverso dagli animali, che siamo»

The essay explores the emotional and political valence of melodramatic storytelling in Steven Soderbergh’s Erin Brockovich. It uses the analytical tools of cognitive film theory to explore the ways in which Erin Brockovich employs affective appeals to engage viewers in its melodramatic representation of a historical case of environmental injustice. Not only are viewers encouraged to empathically share the characters’ feelings of pain, fear, and anxiety about economic and environmental risks and hazards, they are also invited to get sympathetically invested in the protagonist’s struggle to reduce her own suffering and that of others she has learned to care for. As a melodramatic narrative that also provides a good amount of comic relief, Erin Brockovich promotes both alignment and allegiance with its morally righteous heroine, thereby encouraging viewers to share her activist stance in cases of environmental injustice that affect the suffering bodies of others.

L’articolo ragiona intorno al film-saggio Histoire(s) du cinéma (1988-1998) di Jean-Luc Godard e si sofferma in particolare su un controverso montaggio in cui il regista francese accosta estratti da un film pornografico, Freaks di Tod Browning e riprese dai campi di concentramento. In questa sequenza Godard sottopone a una verifica estrema la sua teoria del montaggio, l’idea della riconciliazione, destinata a produrre scintille di pensiero, tra realtà contrapposte. Questa forzatura delle immagini richiama un’analoga forzatura del testimone mostrata in una scena del documentario Shoah di Claude Lanzmann. Interpretando lo shock prodotto dal montaggio delle Histoire(s), l’articolo analizza i temi della degradazione dello statuto indessicale della pellicola, dei limiti della rappresentazione, dell'etica dello sguardo.

"Naked, Deformed, Violated Body. A Montage in the Histoire(s) du cinema by Jean-Luc Godard"
The article analyses Histoire(s) du cinéma (1988-1998), a cinematic essay by Jean-Luc Godard, and in particular it focuses on the controversial montage in which the French director aligns extracts from a pornographic film, Tod Browning’s Freaks, and footage from the concentration camps. With this sequence Godard inquires his own theory of montage: the idea of a productive reconciliation between opposing realities. This shocking sequence (the violence of images) is compared to a similar shock (the violence of asking to witness) produced by a scene of the documentary Shoah by Claude Lanzmann. The trauma of Godard’s editing choice induces the viewer to examine the issues of the degradation of the indexical status of the film, the limits of representation and the ethics of the gaze.

Em primeiro lugar, gostaria de exprimir os meus agradecimentos ao ilustre Prof. Doutor Nuno Simões Rodrigues, pois sem a sua sábia orientação e apoio não seria possível realizar esta Dissertação. Agradeço aos amigos que estiveram presentes no decorrer desta jornada: Maria Thereza

SOMMAIRE
Avant-propos
par Bénédicte Brémard ...................................................................... 7
LE CORPS ET LA NORME
Xosé Nogueira
La emergencia de los otros cuerpos. Cuerpos marginales, marginados
y alternativos en las artes audiovisuales hispánicas .............................. 17
Emmanuel Le Vagueresse
Mon corps e(s)t celui d’une autre : Odio mi cuerpo (León Klimovsky, 1974) ou une critique du machisme dans un cinéma populaire et commercial ?......................................................................................45
Roberta Previtera
El cuerpo como encrucijada: lo «trans» en la pintura
de Gabriel Morcillo............................................................................ 63
Pablo Turrión Borallo
¿Anti-modelos de belleza para tiempos de crisis? El cuerpo imperfecto en el cine español de la última década ................................................ 83
Laureano Montero
«Yes we fuck»: la revolución sexual de los cuerpos con diversidad funcional............................................................................................ 97
Samuel Rodríguez
El cuerpo femenino en la obra de Espido Freire................................ 113
CORPS EN CONSTRUCTION/CORPS EN DESTRUCTION
Pauline Doucet
Stratégies de remise en question de la naturalité du corps anatomique dans la littérature mexicaine contemporaine.....................................127
Corinne Cristini
Corps fantasmé, corps mutilé : une poétique transgressive du corps
dans Esta puta tan distinguida de Juan Marsé (2016) ........................ 147
Judite Rodrigues et Joana Sánchez
Le corps contre lui-même : imaginaire de l’autodestruction
dans l’œuvre poétique et dramatique de Homero Aridjis..................165
Lucie Lavergne
Esther Ferrer, le corps à l’œuvre........................................................ 201
Sonia Kerfa
« Performing the body » : internationalisation et marchandisation
du corps des femmes pauvres ou comment l’art vidéo décolonise
la frontière ....................................................................................... 221
CORPS ET IDENTITÉ NATIONALE
Marie Delannoy
El comensal de Gabriela Ybarra: histoire de corps, histoire de famille, histoire politique..............................................................................243
Carlos Belmonte Grey
Los cuerpos en la sexycomedia mexicana..........................................261
Angélique Pestaña
Cuerpos femeninos, cuerpos vejados en Las tres bodas de Manolita
de Almudena Grandes...................................................................... 277
Jean-Paul Campillo
La séparation du corps et de la voix dans 20 años no es nada (Joaquín Jordà, 2004). Le récit de vie de Jose na Altamira comme vision désenchantée de la Transition ........................................................... 291
Sébastien Pruvost
Una  esta de los cuerpos o tres enfoques subversivos en los documentales de Nicolás Guillén Landrián: Un festival (1963), En un barrio viejo (1963) y Los del baile (1965)........................................................................ 307
CORPS ET GENRES ARTISTIQUES Carmen Becerra Suárez
Cuerpo e identidad en el cine contemporáneo: el caso de El Crack ... 325
Lydie Royer
La escritura de los cuerpos femeninos en la novela policiaca de
José María Guelbenzu ...................................................................... 343
Olivia Pierrugues
Corporéité cantaora : premiers éléments de typologie du corps chanteur  amenco. L’exemple de José Menese.................................................361
LE CORPS À L’AVANT-GARDE
Manuel Rodríguez Avis
La legitimación del cuerpo en la palabra. Federico García Lorca y María Teresa León. Primeras hazañas rumbo a la contemporaneidad..........387
Marta Álvarez Izquierdo
El cuerpo en el encierro: representaciones de la incomunicación
en El Pozo de Juan Carlos Onetti...................................................... 401
Antonio J. Gil González
El cuerpo en la Experiencia Virtual Interactiva (EVI) ....................... 417