Embodied Reception of Dance in Film. The Case of „Climax” by Gaspar Noé
Łukasz Kiełpiński
kielpinski.lukasz@gmail.comUniversity of Warsaw (Poland)
https://orcid.org/0000-0003-4977-9089
Abstract
Dance shown on the cinema screen may make a stronger impression on the viewer than if it was watched live. Referring to Climax (2018) by Gaspar Noé, film critics wrote about the first dance scene using terms that suggest its highly intense, physiologically stimulating effect. The on-screen dance is intensified by the audio-visual setting of the film, which provokes a special kind of somatic engagement, manifested through sensations coming from the viewer’s body. Thus, sensuous theory seems to be a particularly adequate methodology for explaining phenomena of the embodied reception of film dance. Analyzing this phenomenon on the example of Climax, the author uses the perspective of Vivian Sobchack’s sensuous theory, referring also to dance phenomenology, affect studies, performance theory and the discovery of mirror neurons. Towards the end of the text, psychoanalytic mechanisms of affective involvement in on-screen dance are also briefly indicated.
Keywords:
Gaspar Noé, embodiment, dance, affect, sensuous theoryReferences
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Authors
Łukasz Kiełpińskikielpinski.lukasz@gmail.com
University of Warsaw Poland
https://orcid.org/0000-0003-4977-9089
Student of Cultural Studies, Psychology and Philosophy within the College of Interdisciplinary Individual Studies in the Humanities and Social Sciences at the University of Warsaw. He published academic articles in Pleograf. Kwartalnik Akademii Polskiego Filmu. He also writes about cinema for journals such as 16mm and artPAPIER.
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