Acknowledgments | p. vii |
Introduction: film theory, cinema, the body and the senses | p. 1 |
Cinema as window and frame | p. 13 |
Rear Window | |
Constructivism | |
Realism | |
Open and closed film forms (Leo Braudy) | |
Classical cinema | |
Central perspective | |
Rudolf Arnheim | |
Sergej Eisenstein | |
André Bazin | |
David Bordwell | |
Cinema as shop-window and display | |
Cinema as door - screen and threshold | p. 35 |
The Searchers | |
Entry into the film | |
Etymology of screen | |
Thresholds of the cinema/movie theater | |
Beginnings: credits and credit sequences | |
Neo-formalism (Bordwell/Thompson) | |
Post-structuralism (Thierry Kuntzel) | |
Michail Bachtin | |
Door/screen as filmic motif in Buster Keaton and Woody Allen | |
Cinema as mirror and face | p. 55 |
Persona | |
Béla Balázs | |
The close-up | |
The face | |
Face as mirror of the unconscious | |
Christian Metz | |
Jean-Louis Baudry | |
Apparatus-theory | |
Early cinema and the close-up (Tom Gunning) | |
Reflexive doubling in modern (art) cinema | |
Mirror neurons | |
Paradoxes of the mirror | |
Cinema as eye - look and gaze | p. 82 |
Blade Runner | |
Active and passive eye | |
The mobile eye of early cinema | |
Dziga Vertov | |
Apparatus-theory | |
Suture | |
Continuity-editing | |
Laura Mulvey | |
Feminist film theories | |
The Silence of the Lambs | |
Historicity of modes of perception | |
Regimes of the gaze | |
The big Other (Jacques Lacan) | |
Slavoj Äi ek | |
The panoptic gaze (Michel Foucault) | |
Niklas Luhmann and self-monitoring | |
Cinema as skin and touch | p. 108 |
Crash | |
Critique of "ocularcentrism" | |
Skin and identity | |
The New world | |
Vivian Sobchack | |
Phenomenology | |
The (re-)turn to the body | |
Avant-garde practices | |
Body and genre (Linda Williams, Barbara Creed) | |
The skin of film (Laura Marks) | |
Accented cinema (Hamid Naficy) | |
Siegfried Kracauer | |
Cinema as ear - acoustics and space | p. 129 |
Singin' in the Rain | |
Sound as spatial phenomenon | |
Silent cinema and the introduction of sounds | |
Sound in classical cinema | |
The acousniêtre (Michel Chion) | |
Reversals in the hierarchy of image and sound | |
Surround-systems | |
Materiality and plasticity of sound | |
Cinema as brain - mind and body | p. 149 |
Eternal Sunshine of the Spotless Mind | |
Propaganda and cult films | |
Five concepts for connecting mind and cinema | |
Gilles Deleuze | |
Annette Michelson | |
Torben Grodal | |
Mind-game films | |
Mind and body, spectator and film | |
Cognitivism | |
Phenomenology | |
Empathy | |
Embodiment and disembodied vision | |
Conclusion: digital cinema-the body and the senses refigured? | p. 170 |
Toy story | |
Animation and (photo-)graphics | |
The future of projection | |
Screens: bigger and smaller | |
The new body norm: face or hand? | |
Productive contradictions: digital cinema, virtual reality, media convergence | |
Interface and portal instead of window, door and screen | |
Monsters Inc. and doors | |
Public and private | |
Mobility and hybridity | |
Film theory and philosophy: radical reformulations or rescue missions? | |
Notes | p. 188 |
Bibliography | p. 207 |
Index | p. 214 |
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