Analyzing the shock tactics of the film, the paper discusses Takashi Miikes film AUDITION as an example of a corporeal cinema, in which the body of the spectator is employed as a medium of the film’s narration. The article shows how the film’s strategies of visceral engagement are indebted to a radical aesthetic modernism.
In recent years, scholars have given more and more attention to the corporeal side of the cinematic means of expression and of the film experience itself. This approach, dominated by Deleuzian and phenomenological perspectives on film, is often understood as an alternative to the textual analysis of film and to the notion of film as a narrative – as well as symbolic – system. Where the corporeal discourse of film rules, where the film asks for a visceral response, aspects like meaning, narration, story and plot seem to loose their significance. In this way, text and body are often pitched against each other. Accordingly, most film theories show a bias towards one aspect or the other: for example, while the neoformalist and the psychoanalytic approaches are better equipped to study the narrative dimension of film or the workings of the symbolic and the imaginary in film, a phenomenological approach or a Deleuzian approach will typically focus on questions of perception, of sensibility, of the body
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