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The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996)

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The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996) This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Visceral Material: Cinematic Bodies on Screen Małgorzata Bugaj PhD Film Studies The University of Edinburgh 2014 Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. No part of this thesis has been submitted for any other degree or professional qualification. Signed: Małgorzata Bugaj Abstract This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right. Acknowledgements I would like to thank, first and foremost, David Sorfa for his guidance, motivation and superb supervision in the most crucial stages of my studies. I received much inspiration and encouragement from John Orr. Grateful acknowledgement is due to Kriss Ravetto-Biagioli for her advice and help. I would also like to thank Martine Beugnet and Daniel Yacavone. Finally, thanks to Gary Denham for his support, interest and much more besides. Contents INTRODUCTION Cartesian duality................................................................................................... 2 Bodies appearing to conscious awareness............................................................ 3 Bodies in cinema .................................................................................................. 4 CHAPTER ONE Theoretical introduction .......................................................................................... 11 The haptic ............................................................................................................... 11 Types of haptic expression in cinema ................................................................ 13 The medical ............................................................................................................ 19 Medical images in popular culture ..................................................................... 24 The haptic and the medical as metaphors .............................................................. 28 CHAPTER TWO The Elephant Man and Crash .................................................................................. 30 The Elephant Man .................................................................................................. 35 Inside a freak show............................................................................................. 38 The scientific gaze.............................................................................................. 49 Extraordinary bodies – between entertainment and medicine ........................... 54 Crash ...................................................................................................................... 55 Sanitised bodies .................................................................................................. 56 Post-crash bodies ................................................................................................ 58 Spectacular bodies .............................................................................................. 64 Outside horror and pornography ........................................................................ 73 The Elephant Man and Crash – spectacular bodies disenchanted ......................... 75 CHAPTER THREE Attenberg ................................................................................................................... 81 Acting ................................................................................................................. 83 Architecture ........................................................................................................ 86 Human / animal .................................................................................................. 92 Sexuality ............................................................................................................. 99 Medicine ........................................................................................................... 107 Death ................................................................................................................ 113 The body vs. the self ........................................................................................ 122 CHAPTER FOUR Sokurov’s family trilogy ........................................................................................ 124 Skin ...................................................................................................................... 127 Mother and Son .................................................................................................... 130 Landscapes ....................................................................................................... 131 Human figure ................................................................................................... 135 Skinscapes ........................................................................................................ 136 Landscapes to skinscapes ................................................................................. 140 Father and Son ..................................................................................................... 141 The sensuous .................................................................................................... 143 The medical ...................................................................................................... 145 Between the medical and the sensuous ............................................................ 155 Alexandra ............................................................................................................. 156 Smell ................................................................................................................ 158 Touch................................................................................................................ 163 Cinema and proximal senses in Alexandra ...................................................... 167 Sokurov’s family trilogy – the exploration of skin .............................................. 168 CHAPTER FIVE Taxidermia ............................................................................................................... 170 The politicized body ............................................................................................. 171 Skin / viscera ........................................................................................................ 176 Skin – celebrating the sensual .......................................................................... 177 Viscera – the beauty of the body interior ......................................................... 186 From the sublime to the beautiful .................................................................... 196 Bakhtin and Baudrillard in Taxidermia................................................................ 196 Bakhtin’s grotesque body and Taxidermia ...................................................... 197 Baudrillard’s body as the finest of consumed objects ...................................... 203 Between Bakhtin and Baudrillard .................................................................... 211 Taxidermia’s journey through the body ............................................................... 211 CONCLUSION ....................................................................................................... 214 TABLE OF FIGURES ........................................................................................... 218 FILMOGRAPHY……………………….………………………………………..218 BIBLIOGRAPHY .................................................................................................
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