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October no 75 (Autumn
1995) pp 45-73
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CaiUois and Michael Taussig to Bela Balasz and Walter Benjamin in order to describe a mimetic, embodied relation between cinema
and spectator. Those matchmakers on the editorial board of Screen
must have invited me to review Atlas of Emotion because Bruno and
I have both offered extensive yet quite divergent understandings of
cinema as a haptic medium. While I argue that haptic visuahty
entails a shared embodiment and dissolution of intersubjective
boundaries between cinema and its beholder, Bruno conceives of
haptic cinema as instating a mutual mobility of film and beholder.
While I suggest that the oscillation between haptic and optical
visuality engenders a subject that merges with and emerges from the
world, Bruno's haptic subject is a subject in becoming, one for
whom motion is a means to emotional self-discovery.
I wished for a clearer explanation of how the haptic gives rise to
emotion more than do other embodied perceptions. Certainly travel
gives rise to emotional experience, but does movement itself? The
most persuasive argument was through examples that implied a
genealogy of motion-emotion. One is the magic lantern shows of
Duchenne de Boulogne, Charcot's teacher. In Duchenne's
performance of his Mecamsme de la physionomie humaine (1862),
rendenngs of different emotional states (elicited by the application of
electrical probes to subjects' faces) dissolved into each other, so that,
for example, 'desperation' becomes 'ire' which in turn becomes
'spiritual rapture' (pp. 1423) Similarly, a brief foray reinvents
psychoanalytic film theory not through Freud but through the
protocinematic phenomenon of mesmerism. Bruno tells how Franz
Anton Mesmer, underappreciated para-physicist and psychoanalyst,
channelled subjects' 'animal magnetism' through his gaze, a tactile
vision that reached into subjects' unconscious in order to heal them
But usually the connection between perception and psychic
inferiority is elided in the term 'emotion'. When Bruno refers to 'the
emotion of motion' in early-cinema urban panoramas (p. 184), I am
reminded of James Cameron's needlessly defensive remark to our
students when he visited my university in 1998 to pick up his
honorary doctorate: 'Adrenaline is not an emotion!' Where, then,
does emotion arise in the course of embodied experience? It is not
quite clear, except through the metaphor of travel
Reading Atlas of Emotion is like sailing a big boat on a brisk day.
Given the breadth of disciplines and depth of historical material,
references speed by, and if one can be dextrous enough it is
pleasurable to whisk along. Elsewhere Bruno's penchant for rhetoric,
in sentences like 'Film, like an emotional map, here [in the
cartographic view] becomes a geographic vessel, a receptacle of
imaging that moves, a vehicle for emotions' (p. 207) or '[since
houses contain narratives] there is a tactile continuum - a haptic
hyphen - that links the house and the house of pictures' (p. 105) left
me feeling a bit seasick. It is unfortunate that Bruno tends to embed
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