Since its beginnings, cinema has recognised that water can visually give matter and meaning to human desires, dreams and secrets, eliciting suspense and fear. Using different aesthetical and technical strategies, contemporary cinema shows immersed and drowning bodies to represent and express intimacy and protection, suspense and fear, obsession and depression, state of shock, past or infancy trauma, hallucinations and nightmares, etc. The case of enwaterment (i.e. “water-embodiment”) is significant because of its relevance to the point where psychoanalysis and philosophy meet. In this essay, I attempt to investigate what is actually meant today by making a bodily and sensible experience of film by analysing the substance of water and the figures of the drowning and immersed body. Cinema embodies aquatic modalities of perception and expression, pulling the viewer into a liquid environment that is the confluence between the film-body and the filmgoer-body.
|Numero di pagine||20|
|Rivista||ACTA UNIVERSITATIS SAPIENTIAE. FILM & MEDIA STUDIES|
|Stato di pubblicazione||Pubblicato - 2012|
- Contemporary cinema