Body, affect & senses
Barbara M. Kennedy
Develops an aesthetics of sensation in which colour, rhythm, movement, desire, and molecular bodies make time felt as bodily tension and intensity.
Major works
Atlas further reading: debates
Separate image, sound, and bodily posture before asking whether sensation is merely a theme or changes the conditions of feeling, recognition, and action.
Replacement or coexistence?
The time-image reverses the subordination of time to movement; both regimes persist and can shift locally within one film.
How does temporal rupture become political?
Test non-linearity through rights to see, the distribution of waiting, and ownership of the past; its effects can include nostalgia, trauma markets, control, or paralysis.
How do we use Deleuze precisely?
Test four layers: sensory-motor relation, actual/virtual circuit, audio-visual connection, and regime of truth.
Atlas further reading: concepts and films
Related concepts
- Pure optical / sound situationopsigne / sonsigne
Can action use up this sound or image? What does the remainder compel us to notice?
→ - The seervoyant
Does the character’s inability to act produce a more powerful seeing?
→ - Body / braincorps / cerveau
First state whether the analysis concerns body or brain: how does an attitude bear time before story, or how do cinematic connections organize space, probability, and disjunction into a map of thought?
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Related films
- Passion1982 · Jean-Luc Godard / 让-吕克·戈达尔
Tableaux vivants, factory labour, and failed production remain unresolved. The film turns theorem into problem and relinks bodies, images, and sounds across intervals.
→ - Mirror1974 · Andrei Tarkovsky / 安德烈·塔可夫斯基
Deleuze explicitly calls it a turning crystal: mother and wife, childhood and present, memory and perception exchange actual and virtual positions.
→ - Black Swan2010 · Darren Aronofsky / 达伦·阿伦诺夫斯基
The rehearsal mirror first corrects Nina's body, then reflections hesitate, slip out of phase, and even move before she does. The mirror no longer confirms a whole self; it compresses Nina and Lily, White Swan and Black Swan, into one body. Scratches, feathers, toes, and stage transformation are therefore more than illustrations of subjective hallucination: actual and reflected bodies rewrite one another, filming 'becoming the role' as a circuit that produces the performer in return.
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