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Daisuke Miyao

The process of modernization in Japan appeared as a separation of the senses and remapping of the body, particularly privileging the sense of vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s respond to such a reorganization of the body and the elevation of vision in the context of film culture? How did they formulate a cinematic discourse on remapping the body when the status of cinema was still in flux and its definition was debated? Focusing on cinematic commentary made by different writers, this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira questioned the separation of the senses, which was often enforced by state. Inspired by German cinema released in Japan at that time, they explored the notion of the haptic in cinema and problematized the privileged sense of vision in this new visual medium.

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Haptic Mediations

Intergenerational Kinship in the Time of COVID-19

Bob Simpson

massive technological colonisation. Yet, what does it mean to strip out the non-verbal, and specifically the haptic, from that multifaceted engagement between one person and another which is human sociality? The word ‘haptic’, it turns out, is also a

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Screening Disability

Brian Bergen-Aurand

This issue of Screen Bodies features a Screen Shots section focusing on screening disability, including essays on new disability documentaries, vacillation and the dis/abled male body—especially as it plays out in Fred Zimmerman’s 1950 film The Men—and questions of masquerade and representations of Richard III on stage and screen. It also includes general essays on “undoing” gender through complicity and subversion, the rise in the importance of the haptic in Japanese society, culture, and filmmaking in the 1920s, and an investigation of uncertainty and the “generosity paradox” with regard to gender, sexuality, and ability in cyborg cinema.

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Editor's Introduction

The Affective Modalities of Media and Technology

Andrew J. Ball

Embodiment: Sisyphean Landscape Allegory in Cinema,” David Melbye considers the haptic dimensions of global postwar cinema. He examines how embodied metaphor is employed allegorically in cinema to convey existential futility from a modernist perspective and

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

“avant-garde practices” (2010: 120) to the discussion of embodied engagement with film—and notwithstanding Laura Marks’s pioneering contribution to the haptic study of intercultural cinema and independent film—experimental cinema remains largely uncharted

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Benoît Crucifix

thus becomes a revealing paper in the sense that it records and indexes the embodied act of drawing and redrawing, the physical labour of graphiation. 56 Revalorising blots and splashes of ink, Au travail strengthens thehaptic’ qualities of the

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

organization of sense experience” ( Marks 2000, 2 ). I would encourage landscape allegory in cinema to be understood as “sensuous geography,” at least in Marks's implementation of Rodaway's term. I see the haptic dimension in cinema's mobilization of Sisyphean

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Naturalizing Aesthetic Experience

The Role of (Liberated) Embodied Simulation

Vittorio Gallese

, even to the extent that she “ holds it in her hand .” The screen assumes the appearance of a wrapping, a transparent skin constantly touched lightly by the fingers of the spectator: the screen becomes a “skin-screen” ( Gallese and Guerra 2018 ). The

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For a Synaesthetics of Seeing

Naisargi N. Dave

– that singular characteristic of the haptic in which the sense that one exercises is sensed back onto the self: to touch is to be touched, as Maurette puts it; touching something requires being touched by it, Rivera writes, too. But both also point out

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Child Protection Social Work in COVID-19

Reflections on Home Visits and Digital Intimacy

Sarah Pink, Harry Ferguson, and Laura Kelly

) and their entanglements in sensory, affective and social relations of home-based routines ( Pink et al. 2015 ), while media scholars note the hapticity ( Parisi et al. 2017 ) and sensoriality of digital media ( Groot Kormelink and Costera Meijer 2019