Cinema and Contact

The Withdrawal of Touch in Nancy, Bresson, Duras and Denis

Nonfiction, Reference & Language, Foreign Languages, Language Arts
Cover of the book Cinema and Contact by Laura McMahon, Taylor and Francis
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Author: Laura McMahon ISBN: 9781351571869
Publisher: Taylor and Francis Publication: July 5, 2017
Imprint: Routledge Language: English
Author: Laura McMahon
ISBN: 9781351571869
Publisher: Taylor and Francis
Publication: July 5, 2017
Imprint: Routledge
Language: English

Drawing on the work of contemporary French philosopher Jean-Luc Nancy, Cinema and Contact investigates the aesthe-tics and politics of touch in the cinema of three of the most prominent and distinctive filmmakers to have emerged in France during the last fifty years: Robert Bresson, Marguerite Duras and Claire Denis. Countering the domi-nant critical account of touch elaborated by recent models of embodied spectatorship, this book argues that cinema offers a privileged space for understanding touch in terms of spacing and withdrawal rather than immediacy and continuity. Such a deconstructive configuration of touch is shown here to have far-reaching implications, inviting an innovative rethinking of politics, aesthetics and theology via the textures of cinema. The first study to bring the thought of Nancy into sustained dialogue with a series of detailed analyses of films, Cinema and Contact also forges new interpretative perspectives on Bresson, Duras and Denis, tracing a compelling two-way exchange between cinema and philosophy.

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Drawing on the work of contemporary French philosopher Jean-Luc Nancy, Cinema and Contact investigates the aesthe-tics and politics of touch in the cinema of three of the most prominent and distinctive filmmakers to have emerged in France during the last fifty years: Robert Bresson, Marguerite Duras and Claire Denis. Countering the domi-nant critical account of touch elaborated by recent models of embodied spectatorship, this book argues that cinema offers a privileged space for understanding touch in terms of spacing and withdrawal rather than immediacy and continuity. Such a deconstructive configuration of touch is shown here to have far-reaching implications, inviting an innovative rethinking of politics, aesthetics and theology via the textures of cinema. The first study to bring the thought of Nancy into sustained dialogue with a series of detailed analyses of films, Cinema and Contact also forges new interpretative perspectives on Bresson, Duras and Denis, tracing a compelling two-way exchange between cinema and philosophy.

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