91桃色

Cinema is a sensuous object, but in our presence it becomes also a sensing, sensual, sense-making subject. Thus argues Vivian Sobchack as she challenges basic assumptions of current film theory that reduce film to an object of vision and the spectator to a victim of a deterministic cinematic apparatus. Maintaining that these premises ignore the material and cultural-historical situations of both the spectator and the film, the author makes the radical proposal that the cinematic experience depends on two 鈥渧iewers鈥� viewing: the spectator and the film, each existing as both subject and object of vision. Drawing on existential and semiotic phenomenology, and particularly on the work of Merleau-Ponty, Sobchack shows how the film experience provides empirical insight into the reversible, dialectical, and signifying nature of that embodied vision we each live daily as both 鈥渕ine鈥� and 鈥渁nother’s.鈥� In this attempt to account for cinematic intelligibility and signification, the author explores the possibility of human choice and expressive freedom within the bounds of history and culture.