This book is a delightful read.”-Hamid Naficy, Rice University

In Touch, Laura U. Marks develops a critical approach more tactile than visual, an intensely physical and sensuous engagement with works of media art that enriches our understanding and experience of these works and of art itself.

... Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment and the Senses (Durham, NC: Duke University Press, 2000), p. 162. 62. Marks, The Skin of the Film, p. 139. 63. Marks, The Skin of the Film, p. 139. 64. Marks, The Skin of ...

... The Skin of the Film: Intemtltocol Cinema, Emhodiment and the Semes, Laura Marks draws on phenomenology and Deleuzian theory to explore an embodied model of cinematic spectatorship (see also Sobchack 1992) that places cultural ...

In Enfoldment and Infinity, Laura Marks traces the strong similarities, visual and philosophical, between these two kinds of art.

... Laura Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (Durham, NC: Duke University Press, 2000), 148. 16 Marks, The Skin, 140. 17 Marks, The Skin, 138. 18 Marks, The Skin, 192. 19 Marks, The Skin, 193. 20 ...

An Introduction through the Senses Thomas Elsaesser, Malte Hagener. Consequently, Laura Marks, in her aptly titled The Skin of Film, discusses film and video productions originating from outside commercial Hollywood cinema.17 Based on an ...

... Laura U. Marks on embodied visuality. In her book The Skin of the Film Laura U. Marks describes an 'embodied visuality' (Marks, 2000, 151) that does not hold vision as master over the object it sees butrather'yields tothe thing seen ...

... film image in which its material presence is foregrounded and which evokes close ... Laura Marks notes that the art historian Alois Riegl drew a distinction ... The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses (2000) ...

... Laura Marks's analysis of the “skin of the film”24 expands on Sobchack's concept of film as embodied experi- ence: By signifying embodied memories, filmic space becomes sensuously available, enabling “contact” between the spectator and the ...