Body, affect & senses
Giuliana Bruno
Extends cinematic experience through space, travel, architecture, and affective mapping within the embodied turn organized by Afterimages.
Major works
- 01Atlas of Emotion
- 02
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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