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
Bal, M. (2012). Wędrujące pojęcia w naukach humanistycznych (tłum. M. Bucholc). Warszawa: Narodowe Centrum Kultury.
Google Scholar
Balázs, B. (1995). Zur Kunstphilosophie des Films. W: F.-J. Albersmeier (red.), Theorie des Films (ss. 204-226). Stuttgart: Reclam.
Google Scholar
Bałus, W. (2019). Dotykanie wzrokiem. O pojęciu haptyczności w klasycznej nauce o sztuce. Konteksty, (4), ss. 202-207.
Google Scholar
Baudry, J.-L. (1985). Ideologiczne skutki funkcjonowania aparatu filmowego (tłum. A. Helman). Powiększenie, (1), ss. 5-12.
Google Scholar
Benjamin, W. (1975). Dzieło sztuki w dobie reprodukcji technicznej (tłum. J. Sikorski). W: W. Benjamin, Twórca jako wytwórca (ss. 66-105). Poznań: Wydawnictwo Poznańskie.
Google Scholar
Bergson, H. (2021). Materia i pamięć. O stosunku ciała do ducha (tłum. W. Filewicz). Kraków: Wydawnictwo Vis-à-Vis Etiuda.
Google Scholar
Bruno, G. (2002). Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso.
Google Scholar
Burch, N. (1990). Life to Those Shadows (tłum. B. Brewster). Berkeley – Los Angeles: University of California Press.
Google Scholar
Casetti, F. (1983). Les yeux dans les yeux. Communications, (38), ss. 78-97.
DOI: https://doi.org/10.3406/comm.1983.1569
Google Scholar
Coulthard, L. (2012). Haptic Aurality: Listening to the Films of Michael Haneke. Film-Philosophy, 16 (1), ss. 16-29.
DOI: https://doi.org/10.3366/film.2012.0002
Google Scholar
Deleuze, G. (2008). Kino: 1. Obraz-ruch. 2. Obraz-czas (tłum. J. Margański). Gdańsk: Słowo/obraz terytoria.
Google Scholar
Deleuze, G. (2018). Bacon. Logika wrażenia (tłum. A. Z. Jaksender). Kraków: Wydawnictwo Eperons-Ostrogi.
Google Scholar
Deleuze, G., Guattari, F. (2015). Kapitalizm i schizofrenia II: Tysiąc plateau. Warszawa: Fundacja Nowej Kultury Bęc Zmiana.
Google Scholar
Dessoir, M. (1892). Über den Hautsinn. Archiv für Anatomie, Physiologie, Physiologische Abteilung, ss. 175-339.
Google Scholar
Gunning, T. (1986). The Cinema of Attraction: Early Film, Its Spectator and the Avant-Garde. Wide Angle, 8 (3-4), ss. 63-70.
Google Scholar
Hansen, M. B. (2012). Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley – Los Angeles – London: University of California Press.
Google Scholar
Hiltunen, K. (2005). Images of Time, Thought and Emotions: Narration and the Spectator’s Experience in Krzysztof Kieślowski’s Late Fiction Films. Jyväskylä: University of Jyväskylä.
Google Scholar
Kirschall, S. (2017). The Haptic Image Revisited – Zu den ungenutzten Potenzialen eines vielgenutzten Konzeptes. FFK – Journal Film- und Fernsehwissenschaftliches Kolloqium, (2), ss. 47-64.
Google Scholar
Lant, A. (1995). Haptical Cinema. October, 74, ss. 45-73.
DOI: https://doi.org/10.2307/778820
Google Scholar
Marks, L. U. (2000). The Skin of the Film: Intercultural Cinema, Embodiment and the Senses. Durham – London: Duke University Press.
DOI: https://doi.org/10.1215/9780822381372
Google Scholar
Marks, L. U. (2002). Institute Benjamenta: An Olfactory View. W: L. U. Marks, Touch: Sensuous Theory and Multisensory Media (ss. 127-132). Minneapolis – London: University of Minnesota Press.
Google Scholar
McCosker, A. (2013). Intensive Media: Aversive Affect and Visual Culture. New York: Palgrave Macmillan.
DOI: https://doi.org/10.1057/9781137273512
Google Scholar
Metz, C. (1989). Pragnienie i jego brak (tłum. A. Helman). Film na Świecie, (36), ss. 18-24.
Google Scholar
Michelson, A. (1969). Bodies in Space: Film as „Carnal Knowledge”. Artforum, 7 (6), ss. 54-63.
Google Scholar
Mroz, M. (2012). Temporality and Film Analysis. Edinburgh: Edinburgh University Press.
DOI: https://doi.org/10.3366/edinburgh/9780748643462.001.0001
Google Scholar
Nancy, J.-L. (2008). Listening (tłum. C. Mandell). New York: Fordham University Press.
Google Scholar
Riegl, A. (1901). Die spätrömische Kunstindustrie nach den Funden in Österreich-Ungarn im Zusammenhenge mit der Gesammtentwicklung der bildenden Künste bei der Mittelmervölkern. Wien: Verlag der kaiserlich-königlichen Hof- und Staatsdruckerei.
Google Scholar
Riegl, A. (1902, 23 kwietnia). Spätrömisch oder orientalisch?. Beilage zur Allgemeinen Zeitung, (93), ss. 153-156.
Google Scholar
Riegl, A. (1966). Historische Grammatik der bildenden Künste (red. K. M. Swoboda, O. Pächt). Graz – Köln: Böhlau.
Google Scholar
Ross, M. (2012). The 3-D Aesthetic: Avatar and Hyperhaptic Visuality. Screen, 53 (4), ss. 381-397.
DOI: https://doi.org/10.1093/screen/hjs035
Google Scholar
Silveirinha, P., Branco, C. (2012). Editorial: Cinema, the Body and Embodiment. Cinema: Journal of Philosophy and the Moving Image, 3, ss. 1-9.
Google Scholar
Smith, M. (2014). „The Pit of Naturalism”: Neuroscience and the Naturalized Aesthetic of Film. W: T. Nannicelli, P. Taberham (red.), Cognitive Media Theory (ss. 27-45). New York – London: Routledge.
Google Scholar
Smolińska, M. (2020). Haptyczność poszerzona. Zmysł dotyku w sztuce polskiej drugiej połowy XX wieku i początku XXI wieku. Kraków: Universitas.
Google Scholar
Sobchack, V. (1992). The Address of the Eye: Phenomenology and Film Experience. Princeton: Princeton University Press.
DOI: https://doi.org/10.1515/9780691213279
Google Scholar
Sobchack, V. (2004). What My Fingers Knew: The Cinesthetic Subject, or Vision in the Flesh. W: V. Sobchack, Carnal Thoughts: Embodiment and Moving Image Culture (ss. 53-84). Berkeley – Los Angeles: University of California Press.
DOI: https://doi.org/10.1525/9780520937826
Google Scholar
Totaro, D. (2001). Book Reviews: “The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses”. Canadian Journal of Film Studies, 10 (1), ss. 106-109.
DOI: https://doi.org/10.3138/cjfs.10.1.106
Google Scholar
Walsh, M. (2003). Atlas of Emotion: Journeys in Art, Architecture, and Film by Giuliana Bruno. Senses of Cinema, (28). https://www.sensesofcinema.com/2003/book-reviews/ atlas_of_emotion
Google Scholar
Wilke, T. (2010). Tacti(ca)lity Reclaimed: Benjamin’s Medium, the Avant-Garde, and the Politics of the Senses. Grey Room, (39), ss. 39-56.
DOI: https://doi.org/10.1162/grey.2010.1.39.39
Google Scholar
Williams, L. (1991). Film Bodies: Gender, Genre, and Excess. Film Quarterly, 44 (4), ss. 2-13.
DOI: https://doi.org/10.2307/1212758
Google Scholar
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).
Statistics
Abstract views: 58PDF downloads: 52
License
Copyright (c) 2024 Jacek Ostaszewski
This work is licensed under a Creative Commons Attribution 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Jacek Ostaszewski, The Concept of Embodied Cognition in Cognitive Film Theory , Kwartalnik Filmowy: No. 119 (2022): (New) Film Theory
- Jacek Ostaszewski, Subjective Techniques in Feature Films , Kwartalnik Filmowy: No. 97-98 (2017): Wandering Motifs
