Koncepcja odbioru haptycznego w teorii filmu
The Concept of Haptic Perception in Film Theory

Summary/Abstract: The starting point of the article is Alois Riegel’s theory ofart, with its key distinction between haptic and optical re-ception. Then, the author outlines from an aesthetic per-spective how this concept has been used in various ways infilm theory, starting with Walter Benjamin and his under-standing of the reconfiguration of modes of art receptionin the 20th century. As a bridge to the contemporary debateon haptics in cinema, Annette Michelson’s essay is re-called. During the period when the idea of optical percep-tion dominated theory, she spoke in a prescient way aboutcarnal knowledge, of which haptic sensations are a com-ponent. In discussing the multifaceted theoretical debateon haptic vision, spanning the last three decades, a specialplace is given to Laura U. Marks, whose work redefines theways in which audiovisuality is received. In the concludingremarks, with the help of several film examples, the authorattempts to give an account of the functionality of the con-cepts presented here.

• Details
• Contents