Vivian Sobchack’s “Phenomenology and Film Experience”

For Sobchack, classical and contemporary film theory’s three metaphors – window, frame, and mirror – usually function in isolation. That is, the realists focus entirely on film as perception, formalists on cinema as expression, and the psychoanalysts and Neo–Marxists on cinema as deception. Therefore, the overlapping sections between these disparate categories (purple, orange, and green) […]

Deceptive Surfaces in “The Skin I Live In” (2011)

Short Response for Film Theory. Major Spoilers ahead. Xavier Aldana Reyes’ paper “Skin Deep? Surgical Horror and the Impossibility of Becoming Woman in Almodóvar’s The Skin I Live in” perceptively demonstrates the persistent collisions existent in the Vera/Vincente character throughout its runtime. In great detail, the writer argues how Almodóvar successfully deconstructs the very way in […]