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James Joyce and the Phenomenology of Film$
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Cleo Hanaway-Oakley

Print publication date: 2017

Print ISBN-13: 9780198768913

Published to Oxford Scholarship Online: July 2017

DOI: 10.1093/oso/9780198768913.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 30 November 2021

Tactile Vision and Enworlded Being

Tactile Vision and Enworlded Being

Chapter:
(p.85) 4 Tactile Vision and Enworlded Being
Source:
James Joyce and the Phenomenology of Film
Author(s):

Cleo Hanaway-Oakley

Publisher:
Oxford University Press
DOI:10.1093/oso/9780198768913.003.0005

Stephen’s musings on the pre-cinematic ‘stereoscope’ are discussed in relation to Bloom’s contemplation of parallax and his mention of the ‘Mutoscope’. The three-dimensionality, tangibility, and tactility of stereoscopic perception is analysed alongside Bloom’s and Gerty’s encounter in ‘Nausicaa’ and the Merleau-Pontian concepts of ‘flesh’ and ‘intercorporeity’. The bodily effects of projected cinema—achieved through virtual film worlds, virtual film bodies, and the intercorporeity of film and spectator—are discussed through reference to panorama, phantom ride, and crash films. The dizzying effects of some of these films are compared to the vertiginous nature of the ‘Wandering Rocks’ episode of Ulysses; these cinematic and literary vestibular disturbances are elucidated through gestalt theory and the phenomenological concepts of ‘intention’, ‘attention’, and the ‘phenomenal field’. Finally, the relationship between the self and the other is considered, through a discussion of cinematic mirroring in Ulysses and in Mitchell and Kenyon’s fin de siècle Living Dublin films.

Keywords:   stereoscope, parallax, Mutoscope, haptic, tactile, flesh, embodied, phantom ride, panorama, Mitchell and Kenyon

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