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Ucieleśnione doświadczenie kinowe : sensuous theory i jej krytyczny potencjał


Ucieleśnione doświadczenie kinowe : sensuous theory i jej krytyczny potencjał

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dc.contributor.advisor Loska, Krzysztof [SAP11015757] pl
dc.contributor.author Stańczyk, Marta [USOS113185] pl
dc.date.accessioned 2020-02-12T13:03:51Z
dc.date.available 2020-02-12T13:03:51Z
dc.date.submitted 2019-12-18 pl
dc.identifier.uri https://ruj.uj.edu.pl/xmlui/handle/item/148810
dc.language pol pl
dc.rights Copyright *
dc.rights.uri http://ruj.uj.edu.pl/4dspace/License/copyright/licencja_copyright.pdf *
dc.title Ucieleśnione doświadczenie kinowe : sensuous theory i jej krytyczny potencjał pl
dc.title.alternative Embodied cinematic experience : sensuous theory and its critical potential pl
dc.type Thesis pl
dc.place Kraków pl
dc.description.physical 273 pl
dc.description.additional Bibliogr. s. 251-271 pl
dc.abstract.en The objective of this thesis is to consider the corporeal presence of spectator as specific to film perception, while ephasising the multi-faceted, somatic nature of cinematic experience. Aristotelian aesthetic had been intertwined with the notion of experience already: Greek aísthēsis meaning "cognition through senses". In my view, the relation between perception theory and aesthetics is as essential as the interrelation between spectator's body and film's body. This material link is expressed by "embodied cinematic experience". Sensuous theory is rooted in the deep conviction about insufficiency and arbitrarity of previous film theories. Those dominant theories are juxtaposed with Maurice Merleau-Ponty's existential phenomenology. His philosophy inspired next reevaluations: body has replaced eye and mind, synesthetic experience has become more important than visual perception, and abstract spectator has been affected by viewer's (as much as researcher's) subjectivity and has turned into embodied or kinaesthetic subject. As Vivian Sobchack concluded, sensuous theory creates a radical semiosis of the lived body. Although cinema is an audiovisual medium, sensuous theory emphasises a multisensoriality, spectator's presence and gaze which should not be disembodied. Even the term "viewer" connotes "eye" and "watching", but the scopic order is only a beginning of material engagement for sensuous theory. The body opposes any attempts of conceptualization, it is ephemeral and evades textual closure. It stays on an existential level in spite of any discourse. Not only is it connected with reality, but it is also the reality of each and everybody. This is why "embodiment" and "experience" are the main figures in this thesis - they remain fluid, open and simultaneous with the changes of contemporary humanities (especially with the affective turn). Embodied cinematic experience develops next to all the reassessments which have had place due to sensuous theory since the 1990s. Furthermore, this concept avoids doctrinal simplifications against which sensuous theory was born in the first place. That is also why sensuous theory is interdisciplinary and inclusive. It encloses a wide spectrum of humanities (art history, literary studies, philosophy) and psychological research (including neurobiological and cognitive studies). It is a very relational and symbiotic theory - it even interacts with the second generation of critical theory. Both annihilates rigorous hierarchies and binary oppositions. Homo hapticus substitutes homo spectator - the reevaluation of culturally determined sensorium gives voice to the margins and sensuous theory becomes subversive. The body is a source of knowledge, cognition and sensation, but also it is a source of transgression - both in the aesthetic and socio-cultural spheres. It introduces a new epistemic order. This thesis has several research objectives. Firstly, I would like to define sensuous theory. Although this subject is widely recognized among English speaking universities, even having been named "film studies 2.0", it tends to be ignored in Poland. Secondly, aside from popularization of these Western ideas, I want to revisit their credibility and tackle their allegations. Thirdly, the intersubjectivity of experience enables the correspondence between personal and political. Among further objectives, it is worth to mention also situating sensuous theory in the context of diachronical film theory, the critique of the Western Eye and its ideological implications, showing the impact of technologization on viewer's sensorium, locating different senses as perceptual modes, the classification of embodied and multisensorial ways of cinematic expression, and the codification of visceral poetics. The first chapter introduces the basic contexts of sensuous theory: the theoretical anticipation of embodied concepts, the neglected tradition of film phenomenology, and the most important notions of existential phenomenology which showcase the importance of experience in film theory. The second chapter identifies "embodied cinematic experience" - this category struggles to overcome the dualism of subject-object, which is predominant in traditional film perception theory. Third chapter describes multisensoriality and poetics derivating from it. Finally, in the fourth chapter, I have created a "sensuous" critical theory, especially evident in the case of feminism. pl
dc.subject.pl sensuous theory pl
dc.subject.pl teoria filmu pl
dc.subject.pl ucieleśnienie pl
dc.subject.pl doświadczenie pl
dc.subject.pl multisensoryczność pl
dc.subject.en sensuous theory pl
dc.subject.en film theory pl
dc.subject.en embodiment pl
dc.subject.en experience pl
dc.subject.en multisensorial pl
dc.identifier.callnumber Dokt. 2019/264 pl
dc.contributor.institution Uniwersytet Jagielloński. Wydział Zarządzania i Komunikacji Społecznej pl
dc.contributor.reviewer Kita, Barbara pl
dc.contributor.reviewer Zierzchowski, Piotr pl
dc.affiliation Wydział Zarządzania i Komunikacji Społecznej : Instytut Sztuk Audiowizualnych pl
dc.rights.original OTHER; otwarte repozytorium; ostateczna wersja autorska (postprint); w momencie opublikowania; 0 pl
dc.identifier.project ROD UJ / OP pl

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