The Concept of Haptic Perception in Film Theory
Jacek Ostaszewski
jacek.ostaszewski@uj.edu.plJagiellonian University (Poland)
https://orcid.org/0000-0003-1160-4021
Abstract
The starting point of the article is Alois Riegl’s theory of art, with its key distinction between haptic and optical reception. Then, the author outlines from an aesthetic perspective how this concept has been used in various ways in film theory, starting with Walter Benjamin and his understanding of the reconfiguration of modes of art reception in the 20th century. As a bridge to the contemporary debate on haptics in cinema, Annette Michelson’s essay is recalled. During the period when the idea of optical perception dominated theory, she spoke in a prescient way about carnal knowledge, of which haptic sensations are a component. In discussing the multifaceted theoretical debate on haptic vision, spanning the last three decades, a special place is given to Laura U. Marks, whose work redefines the ways in which audiovisuality is received. In the concluding remarks, with the help of several film examples, the author attempts to give an account of the functionality of the concepts presented here.
Keywords:
haptic perception, tactical exploration, haptic visuality, multi-sensory experience, construction of film spaceReferences
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Authors
Jacek Ostaszewskijacek.ostaszewski@uj.edu.pl
Jagiellonian University Poland
https://orcid.org/0000-0003-1160-4021
Professor of humanities at the Institute of Audiovisual Arts, Jagiellonian University. In film studies, he specializes in narratology and film theory. He has published Film i poznanie: Wprowadzenie do kognitywnej teorii filmu [Film and Cognition: An Introduction to Cognitive Film Theory] (1999) Rozumienie opowiadania filmowego and [Understanding the Film Narrative] (1999). Editor of the anthology Kognitywna teoria filmu [Cognitive Film Theory] (1999). With Alicja Helman, he co-authored the textbook Historia myśli filmowej [History of Film Thought] (2007) and co-edited the anthology Film: Język – Rzeczywistość – Osoba [Film: Language – Reality – Person] (1992). In the field of narratology, his most important achievement is the book Historia narracji filmowej [History of Film Narration] (2018).
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