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"A marvellous interweaving of theory and historiography. This is a book that can interest film theorists, film historians, students of performance art, and scholars of postcoloniality and interculturalism. Marks explains-with rich detail-a whole range of recent cultural productions in film and video and makes those works come to life. The Skin of the Film suggests important ways to extend film theory."-Dana Polan, University of Southern California "This is a terrific book! Not only does it have a significant argument to make, but it also works with a variety of little-known film/video examples in such a way as to give the reader both a vivid sense of them and a desire to go out and get hold of them." -Vivian Sobchack, University of California at Los Angeles
Vivian Sobchack, University of California at Los Angeles
"This is a terrific book! Not only does it have a significant argument to make, but it also works with a variety of little-known film/video examples in such a way as to give the reader both a vivid sense of them and a desire to go out and get hold of them."
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Intercultural cinema by definition operates at the intersections of two or more cultural regimes of knowledge. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
Intercultural cinema by definition operates at the intersections of two or more cultural regimes of knowledge. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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11 of 12 people found the following review helpful
watching film with the all the senses
20 Jun 2000
Format:Paperback
Laura Marks' analysis of the connection between film/video and the senses, particularly our non-audiovisual senses, is fantastic. The focus of The Skin of the Film is work by filmmakers and video artists who live apart from their native culture and make work about this separation. The artists discussed in this book draw upon sensory experience to relate personal accounts of loss, longing, and remembering. Marks' in depth discussion and analysis gets at the heart of sensory memory that we all experience. Additionally, she relates this to strategies used by filmmakers throughout the history of cinema to push the cinematic experience beyond its audiovisual roots. I recommend this book for artists and film enthusiasts alike.
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