The tactile eye: touch and the cinematic experience 9780520258402, 9780520258426

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The Tactile Eye | |

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The Tactile Eye Touch and the Cinematic Experience | JENNIFER M. BARKER

University of California Press

BERKELEY LOS ANGELES LONDON ,

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press , Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2009 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data Barker, Jennifer M., 1969-. The tactile eye : touch and the cinematic experience / Jennifer M. Barker.

p. cm. Includes bibliographical references and index.

ISBN 978—0-520-25840-2 (cloth : alk. paper) | ISBN 978—0-520—25842-6 (pbk. : alk. paper)

1. Body, Human—In motion pictures. 2. Motion pictures— Psychological aspects. 3, Motion picture audiences — Psychology. I. Title.

PN1995.9.B62B35 2009 ,

791.43'6561—dc22 2008034392

Manufactured in the United States of America

18 17 16 15 14 13 12 141 10 09

10 9 8 7 65 4 3 2 21

This book is printed on Natures Book, which contains 30% post-consumer waste and meets the minimum requirements of ANsI/NISO Z39.48-1992 (R 1997) (Permanence of Paper).

For my family and friends

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Contents

List of Illustrations : ix

Acknowledgments xi INTRODUCTION: EYE CONTACT 1

Tactility 1 The Film’s Body , 4 Moving Pictures ) 13 . Touch and Go 20 1.Textural SKIN 23 Analysis 23 Film’s Skin 26 Eroticism 34 Pleasure | 39 Horror 47 History mon amour 56 2. MUSCULATURE , 69 Empathy 73 Here and There 82 A Tenuous Grasp 93 Through a Glass Deftly 69

Apprehension 106 3.Heart-stopping VISCERA | 120 120

Hiccups | 122

La Petite Mort 132 Child’s Play 136 CONCLUSION: INSPIRATION 145 Breathtaking . TA5 The Wind in the Trees 149 Everywhere and Always 153

Notes 163 Bibliography . 179 Index 187

The Big Swallow 157

Illustrations

1. Mirror (Tarkovsky, 1975) 5 2. Pather Panchali (Ray, 1955) 40 3. Repulsion (Polanski, 1965) _ 54 4. Eraserhead (Lynch, 1977) 55 5. Hiroshima mon amour (Resnais, 1959) 59

6. Sherlock, Jr. (Keaton, 1924) 71 7. Fast and Furry-ous (Jones, 1949) 89

8. Bullitt (Yates, 1968) 112 9. Bullitt (Yates, 1968) 114 10. Street of Crocodiles (The Quay Brothers, 1986) 142 11. Street of Crocodiles (The Quay Brothers, 1986) _ 143

12. Mirror (Tarkovsky, 1975) | 150 13. Mirror (Tarkovsky, 1975) 151 14. The Big Swallow (Williamson, 1901) 158 15. The Big Swallow (Williamson, 1901) 159

1X

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Acknowledgments

This project began as a series of questions regarding an aspect of the cinema

experience that moves me profoundly but which I couldn’t quite put my finger on. I am grateful to all the teachers, fellow students, colleagues, family, and friends who lent a hand over the years as I felt my way toward a vocabulary for it. For her intellectual generosity and unflagging encouragement, special __ thanks go to Vivian Sobchack, who has supported this project from its first incarnation as a dissertation in UCLA's Critical Studies program. She encouraged me to follow my gut instincts, to take seriously my knee-jerk reactions, to embrace the touchy-feely, and to investigate all these things rigorously and with purpose, rather than dismiss them out of hand. I could not have asked for a more intrepid tour guide on what has been a fantastic voyage through the study of embodied, sensual cinema spectatorship. Thanks also to Laura Marks, who kindly offered suggestions as I embarked

on this project and continues to do so, and whose work has significantly shaped my thinking about haptic visuality. 1 am grateful to Laura as well as to Elena del Rio and an anonymous reader for insightful and incisive comments that greatly improved the final work. Several people deserve my thanks, too, who provided valuable feedback on early drafts, including

Steve Mamber, Peter Wollen, Dudley Andrew, and Linda Williams. | In the last stages of writing and editing, colleague Michele Schreiber’s °

friendship kept my spirits up and my glass at least half-full. That, combined with the moral support and moviegoing companionship of Jennifer Henderson, Amy Sperling, Cathy Coppolillo, and Alison Byrne, saw me through to the finish. As for beginnings, I thank Boppa for instilling me with a love of the movies and the rest of my family for indulging it. X1

xii / — Acknowledgments Naomi Shersty cheerfully agreed to help with the illustrations, to my great relief, and thanks finally to my editor Mary Francis at University of California Press, for her editorial guidance and support, and to her assistant, Kalicia Pivirotto. They have expertly steered the book along its jour-

ney from digital to tangible form.

Introduction | Eye Contact Film is the greatest teacher because it teaches not only through the brain but through the whole body. VSEVOLOD PUDOVKIN

TACTILITY

Concentrate! Your attention is on your hands. Your hands are becoming tense. You are concentrating your will, your great desire to succeed, on your hands... . Look at your fingers. They’re becoming tense. .. . I’ll remove the tension now and you will speak clearly and effortlessly. You will speak loudly and clearly all your life. One. Two. Three!

Thus begins Andrey Tarkovsky’s Mirror (1975). This brief preamble, in which a hypnotherapist attempts to cure a young man’s stutter, immediately announces its concern with vision and touch and its insistence on the meaningful, material link between mind and body. The therapist touches the boy repeatedly, pushing, pulling, and palpating his temples, shoulders, back, face, and hands. By drawing the tension from his mind into his hands, she says, she can remove that physical tension and, with it, the mental tension that stifles his speech. The premise of this therapy session is that any

stark division between mind and body is a false one, and that there is instead a fluid connection between the two. Although her focus is resolutely on the hands (his and hers), the tension moves throughout the boy’s entire body. He stumbles and is drawn toward the therapist or pushed away, and the muscles of his face tighten as she holds him in this hypnotic trance. The hands, then, are only the beginning, the contact point, of a mutual engagement of body and mind that extends deep into the body, involving the muscles and tendons as surely as the fingers. Throughout Tarkovsky’s film, emotion is inextricably bound up with motion and materiality. Love, desire, loss, nostalgia, and joy are perceived and expressed in fundamentally tactile ways, not only by characters but also, even more profoundly, by film and viewer. These embodied, emotional experiences 1

2 / Introduction may begin in and on the surface of the body, but they come to involve the entire body and to register as movement, comportment, tension, internal rhythms, and a full-bodied engagement with the materiality of the world. This book follows that deepening of touch from surface to depth, from haptic touch to total immersion. Its argument is that touch is not just skindeep but is experienced at the body’s surface, in its depths, and everywhere in between. The book begins at the surface and moves on through three regions—skin, musculature, viscera—to end with a kind of immersion and inspiration that traverses all three at once. I hope to show that touch is a “style of being” shared by both film and viewer, and that particular structures of human touch correspond to particular structures of the cinematic experience. In other words, the forms of tactility that filmgoers experience at the movies are shared—in complex, not always comfortable ways—by

both spectator and film.

Exploring cinema’s tactility thus opens up the possibility of cinema as an intimate experience and of our relationship with cinema as a close con-

nection, rather than as a distant experience of observation, which the notion of cinema as a purely visual medium presumes. To say that we are touched by cinema indicates that it has significance for us, that it comes close to us, and that it literally occupies our sphere. We share things with it: texture, spatial orientation, comportment, rhythm, and vitality.

| Touch need not be linked explicitly to a single organ such as the skin but is enacted and felt throughout the body, for “the body is borne towards tac- _ tile experience by all its surfaces and all its organs simultaneously, and carries with it a certain typical structure of the tactile ‘world.’”1 As a material mode of perception and expression, then, cinematic tactility occurs not only at the skin or the screen, but traverses all the organs of the spectator’s body and the film’s body. As J.J. Gibson wrote, “vision is kinaesthetic in that it registers movements of the body just as much as does the muscle-joint-skin system and the inner-ear system.”? Tension, balance, energy, inertia, languor, velocity, rhythm—this book considers all of these to be “tactile,” though none manifests itself solely, or even primarily, at the surface of the body.

In this book, “touch” comes to mean not simply contact, but rather a profound manner of being, a mode through which the body—human or cinematic—presents and expresses itself to the world and through which it perceives that same world as sensible. Maurice Merleau-Ponty’s approach to the general meaningfulness of matter, summarized here by Glen Mazis, bears on my description of tactility as a “style” or mode of being in and at the world: A “manner of being” emerges as giving identity to a thing and the person(s) perceived in the “coition, so to speak, of our body with

Eye Contact / 43 things.” This “manner of being” indicates what Merleau-Ponty calls “style.” ... It emerges as the thread running through all the properties of the thing and in my interaction with the thing. . . . The glasslike feel, brittleness, tinkling sound [of a drinking glass], and such have an accent, an atmosphere, that also encompasses the over-glass-sliding-movementof-the-finger or the bent-shooting-out-finger-striking-tinkling-evokingflick movement of the hand. Both perceived and perceiver are joined in that style of intercourse from which their identity emerges.°

Tactility is a mode of perception and expression wherein all parts of the

body commit themselves to, or are drawn into, a relationship with the , world that is at once a mutual and intimate relation of contact. The intimate and close contact between touching and touched, as well as the relationship of mutual, reciprocal significance that exists between them, are universal structures. Within those general structures, tactility contains the possibility for an infinite variety of particular themes or patterns: caressing, striking, startling, pummeling, grasping, embracing, pushing, pulling, palpation, immersion, and inspiration, for example, are all tactile behaviors. Cinematic tactility, then, is a general attitude toward the cinema that the human body enacts in particular ways: haptically, at the tender surface of the body; kinaesthetically and muscularly, in the middle dimension of muscles, tendons, and bones that reach toward and through cinematic space; and viscerally, in the murky recesses of the body, where heart, lungs, pulsing fluids, and firing synapses receive, respond to, and reenact the rhythms of cinema. The film’s body also adopts toward the world a tactile attitude of intimacy and reciprocity that is played out across its nonhuman body: haptically, at the screen’s surface, with the caress of shimmering nitrate and the scratch of dust and fiber on celluloid; kinaesthetically, through the contours of on- and off-screen space and of the bodies, both human and mechanical, that inhabit or escape those spaces; and viscerally, with the film’s rush through a projector’s gate and the “breathing” of lenses. The following three

chapters seek out the resonance and reverberation of tactile patterns between the human body and the cinema at these corporeal locales. | In recent years, there has been a new appreciation for the sensual dimension of the cinematic experience, as many media scholars have turned their attention toward embodied spectatorship, examining the historical and theoretical implications of the viewer’s (and in some cases, the cinema’s) particular forms of embodiment. My own study builds on this trend in media studies toward what Paul Stoller calls “sensuous scholarship.”* It also draws considerably on the work of Vivian Sobchack, whose The Address of the

Eye set out a framework for a distinctly existential phenomenological

A / Introduction : approach to the cinema, one that grounds its description of the reversible and reciprocal correlation between film and viewer in the notion that consciousness is materially embodied.’ Sobchack reminds us that as film theorists, we are not exempt frem sensual being at the movies— | nor, let’s admit it, would we wish to be. As “lived bodies” (to use a phenomenological term that insists on “the” objective body as always also lived subjectively as “my” body, diacritically invested and active in making sense and meaning in and of the world), our vision is always already “fleshed out”—and even at the movies it is “in-formed” and given meaning by our other sensory means of access to the world: our capacity not only to hear, but also to touch, to smell, to taste, and always to proprioceptively feel our dimension and movement in the world. In sum, the film experience is meaningful not to the side of our bodies but because of our bodies.®

In this book, I seek to elicit and examine the specifically tactile structures of embodied cinematic perception and expression that are taken up by on-screen bodies (human or otherwise), filmgoers, and films themselves. Close analysis of sound and image will reveal certain patterns of texture, space, and rhythm enacted by films and viewers. Attention to these

embodied structures and patterns allows for a sensually formed (and informed) understanding of the ways that meaning and significance emerge in and are articulated through the fleshy, muscular, and visceral engagement that occurs between films’ and viewer's bodies.

THE FILM’S BODY Mirror's opening scene, with the stuttering boy and therapist, is at once intellectually, emotionally, and physically discomforting. This is in part because it is unclear exactly how the episode “fits” into the film as a whole. It begins abruptly, before the credits have started, and provides no narra- tive context or character identification; indeed, over the course of the film, we never return to either of these characters. However, more pressing, quite literally, is the question of how we viewers “fit” into the scene: we are drawn too close not to be involved somehow in the intensely charged encounter

between the therapist and the boy, but the terms of our involvement are ambiguous, even contradictory. The scene’s unsettling and unpredictable use of camera movement and framing establishes an intimate, tactile, and complex contact between three types of bodies—the characters’, the viewer’s, and the film’s—that continues throughout the entire film. The scene begins in color, as a young boy in a well-appointed apartment | switches on a black-and-white television set. As he steps back to watch the

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