Haptic Visuality and a Multi-Sensory Film Experience: On Body and Soul

Ayşe Dilan Salkaya

Article Details

Haptic Visuality and a Multi-Sensory Film Experience: On Body and Soul

Authors:

Ayşe Dilan Salkaya

Publisher:

Istanbul University

Main Topics:

Ekran Medyası

Journal:

Filmvisio Issue 1, pp.1-19

Document Type:

Article

Publication Date:

10/2023

Document Language:

Turkish

Document ID (Org No.):

2001296726

pISSN:

2980-3101

Keywords:

Abstract:

 Cinemas ability to convey meaning through image and sound may overshadow other senses, but it is actually an artistic discipline that engages all senses. This theory views film as a type of touchable skin that can be experienced through the eyes. The embodied image gives the audiences perception and the moviegoing experience a multi-sensory framework. The eyes call the other senses into memory upon viewing an image, and the audience moves their eyes closer to the screen as they watch a film. Laura Marks 2020 haptic visuality theory is based on this idea, according to which the audience and the film are two distinct bodies placed opposite one another. In haptic visualization, the eye behaves just like the organ of touch. Haptic vision is the opposite of optical vision, with the body being more involved in the haptic vision process than in optical vision. This study raises the issue of how films also reveal non-visual senses as a multisensory experience area in this reciprocal interaction, whose conceptual framework is formed by Marks ideas. Before using the descriptive analysis method to examine Ildikó Enyedis film On Body and Soul Testről és lélekről, 2017, the study assesses the historical multi-sensory film experience and the development of haptic visuality to show its potential. The main theme discussed in the film is the tension between touch and non-touch, with closeups, lighting, and color elements used in the film helping the viewer feel more intimately attached to the skin of the film. The studys findings suggest that the senses of taste, smell, kinesthesia, sight, and hearing work together in the film to enable an intersensory viewing and that the film also reveals other senses by shattering the hegemony of vision.

 Cinemas ability to convey meaning through image and sound may overshadow other senses, but it is actually an artistic discipline that engages all senses. This theory views film as a type of touchable skin that can be experienced through the eyes. The embodied image gives the audiences perception and the moviegoing experience a multi-sensory framework. The eyes call the other senses into memory upon viewing an image, and the audience moves their eyes closer to the screen as they watch a film. Laura Marks 2020 haptic visuality theory is based on this idea, according to which the audience and the film are two distinct bodies placed opposite one another. In haptic visualization, the eye behaves just like the organ of touch. Haptic vision is the opposite of optical vision, with the body being more involved in the haptic vision process than in optical vision. This study raises the issue of how films also reveal non-visual senses as a multisensory experience area in this reciprocal interaction, whose conceptual framework is formed by Marks ideas. Before using the descriptive analysis method to examine Ildikó Enyedis film On Body and Soul Testről és lélekről, 2017, the study assesses the historical multi-sensory film experience and the development of haptic visuality to show its potential. The main theme discussed in the film is the tension between touch and non-touch, with closeups, lighting, and color elements used in the film helping the viewer feel more intimately attached to the skin of the film. The studys findings suggest that the senses of taste, smell, kinesthesia, sight, and hearing work together in the film to enable an intersensory viewing and that the film also reveals other senses by shattering the hegemony of vision.

 Cinemas ability to convey meaning through image and sound may overshadow other senses, but it is actually an artistic discipline that engages all senses. This theory views film as a type of touchable skin that can be experienced through the eyes. The embodied image gives the audiences perception and the moviegoing experience a multi-sensory framework. The eyes call the other senses into memory upon viewing an image, and the audience moves their eyes closer to the screen as they watch a film. Laura Marks 2020 haptic visuality theory is based on this idea, according to which the audience and the film are two distinct bodies placed opposite one another. In haptic visualization, the eye behaves just like the organ of touch. Haptic vision is the opposite of optical vision, with the body being more involved in the haptic vision process than in optical vision. This study raises the issue of how films also reveal non-visual senses as a multisensory experience area in this reciprocal interaction, whose conceptual framework is formed by Marks ideas. Before using the descriptive analysis method to examine Ildikó Enyedis film On Body and Soul Testről és lélekről, 2017, the study assesses the historical multi-sensory film experience and the development of haptic visuality to show its potential. The main theme discussed in the film is the tension between touch and non-touch, with closeups, lighting, and color elements used in the film helping the viewer feel more intimately attached to the skin of the film. The studys findings suggest that the senses of taste, smell, kinesthesia, sight, and hearing work together in the film to enable an intersensory viewing and that the film also reveals other senses by shattering the hegemony of vision.

 Sinemanın görüntü ve sesle anlatabilme özelliği diğer duyuları geri plana itmiştir ancak sinema, tüm duyuları aktive eden bir sanat disiplinidir. Bu yaklaşıma göre film, gözle dokunulabilen bir tür tendir. Bedenselleşen görüntü sayesinde izleyicinin algılaması ve film deneyimi çok duyulu bir yapıya kavuşur. Göz, imgeyi gördükten sonra bellekteki diğer duyuları da çağırır. İzleyici, film izlerken gözüyle filmin tenine yakınlaşır. Laura Marksın bu izlekten yola çıkarak ortaya koyduğu haptik görsellik kavramına göre film ile izleyici karşılıklı konumlanan iki ayrı bedendir. Haptik görsellikte göz, tıpkı dokunma organı gibi davranır. Haptik görme, optik görmenin tam karşıtıdır ve beden, optik görmede olmadığı kadar görme sürecine dahil olur. Kavramsal çerçevesini Marksın fikirlerinin oluşturduğu çalışma, söz konusu karşılıklı etkileşimde filmin çok duyulu bir deneyim alanı olarak izleyici için görsel olmayan duyuları da açığa çıkardığını tartışmaya açmaktadır.Çalışmada önce haptik görselliğin ve duyular yoluyla film deneyiminin tarihsel değerlendirmesi yapılmış, ardından Beden ve Ruh On Body and Soul Testről és lélekről, Ildikó Enyedi, 2017 filmi betimsel analiz yöntemiyle çözümlenerek haptik görselliğin ve çok duyulu film deneyiminin imkânı ortaya koyulmuştur. Ana meselesi dokunma ve dokunamama arasındaki gerilim olan filmin kendisinin de dokunsal olabileceği, filmde kullanılan yakın plan, ışık ve renk öğeleriyle izleyicinin filmin tenine yakınlaştığı, çalışmada tartışılan izleklerdir. Çalışmanın sonucunda, filmdeki görme ve işitme duyusunun tat alma, koklama ve kinesteziyle birlikte davranarak duyulararası izleme deneyimini mümkün kıldığına, filmin, görmenin hegemonyasını kırarak farklı duyuları da açığa çıkardığına ulaşılmıştır.

Article Details

Haptic Visuality and a Multi-Sensory Film Experience: On Body and Soul

Authors:

Ayşe Dilan Salkaya

Publisher:

Istanbul University

Main Topics:

Ekran Medyası

Journal:

Filmvisio Issue 1, pp.1-19

Document Type:

Article

Publication Date:

10/2023

Document Language:

Turkish

Document ID (Org No.):

2001296726

pISSN:

2980-3101

Haptic visualization

seeing

touching

multisensory film experience

On Body and SoulHaptik görsellik

görme

dokunma

çok duyulu film deneyimi

Beden ve Ruh

Issues

Article Details

Authors: Ayşe Dilan Salkaya

Publisher: Istanbul University

Main Topics: Ekran Medyası

Journal: Filmvisio Issue 1, pp.1-19

Document Type: Article

Publication Date: 10/2023

Document Language: Turkish

Document ID (Org No.): 2001296726

pISSN: 2980-3101

Issues

Authors:

Ayşe Dilan Salkaya

Publisher:

Istanbul University

Main Topics:

Ekran Medyası

Journal:

Filmvisio Issue 1, pp.1-19

Document Type:

Article

Publication Date:

10/2023

Document Language:

Turkish

Document ID (Org No.):

2001296726

pISSN:

2980-3101