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The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses Paperback - 2000
by Laura U. Marks
First line
Intercultural cinema by definition operates at the intersections of two or more cultural regimes of knowledge.
From the rear cover
"Marks's nuanced reading of a large number of films and videos is based on her deep engagement with the politics of place and displacement that drives the films. This book is a delightful read."--Hamid Naficy, Rice University
Details
- Title The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
- Author Laura U. Marks
- Binding Paperback
- Edition First Edition
- Pages 320
- Volumes 1
- Language ENG
- Publisher Duke University Press, Durham, North Carolina, U.S.A.
- Date 2000-01-19
- Illustrated Yes
- Features Bibliography, Illustrated, Index
- ISBN 9780822323914 / 0822323915
- Weight 1.22 lbs (0.55 kg)
- Dimensions 9.22 x 6.13 x 0.94 in (23.42 x 15.57 x 2.39 cm)
- Reading level 1370
- Library of Congress subjects Deleuze, Gilles, Motion pictures - Developing countries
- Library of Congress Catalog Number 99026487
- Dewey Decimal Code 791.430
Media reviews
Citations
- Choice, 09/01/2000, Page 137
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The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
by Marks, Laura U.
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The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
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"Memories that evoke the physical awareness of touch, smell, and bodily presence can be vital links to home for people living in diaspora from their culture of origin. How can filmmakers working between cultures use cinema, a visual medium, to transmit that physical sense of place and culture? In The Skin of the Film Laura U. Marks offers an answer, building on the theories of Gilles Deleuze and others to explain how and why intercultural cinema represents embodied experience in a postcolonial, transnational world. Much of intercultural cinema, Marks argues, has its origin in silence, in the gaps left by recorded history. Filmmakers seeking to represent their native cultures have had to develop new forms of cinematic expression. Marks offers a theory of "haptic visuality"—a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and…
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The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
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The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
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