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Cinematic Corpographies

Re-Mapping the War Film Through the Body

de

Type
Essays
Sujet
Genre
Mots Clés
war films, body, theory
Année d'édition
Editeur
De Gruyter
Collection
Cinepoetics
1ere édition
2018
Langue
anglais
Taille d'un livre de poche 11x18cmTaille relative de ce livreTaille d'un grand livre (29x22cm)
Taille du livre
Format
Paperback210 pages
6 x 9 ¼ inches (15.5 x 23.5 cm)
ISBN
978-3-11-070912-4
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Description de l'ouvrage:
Writing on the relationship between war and cinema has largely been dominated by an emphasis on optics and weaponised vision. However, as this analysis of the Hollywood war film will show, a wider sensory field is powerfully evoked in this genre. Contouring war cinema as representing a somatic experience of space, the study applies a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier’s body. These assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also entail the involvement of the spectator’s body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts.

À propos de l'auteur :
Eileen Rositzka, Freie Universität Berlin, Kolleg-Forschergruppe Cinepoetics - Poetologien audiovisueller Bilder, Berlin, Germany.

Revue de Presse:
"By examining how cinematic representations of war speak so closely to our human condition, Rositzska skilfully depicts how such representations are inflected with intersubjective permutations and assumptions about the material body, gender, and even race, assumptions which can be challenged or interrogated through aesthetic, cinematic forms in order to undercut - even subvert - a predominantly visual discourse in film and media studies."
(Panayiota Chrysochou in: Punctum, 5(1): 271-273, 2019)

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