Bodies in Pain
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Bodies in Pain

Emotion and the Cinema of Darren Aronofsky

Tarja Laine

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  2. English
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eBook - PDF

Bodies in Pain

Emotion and the Cinema of Darren Aronofsky

Tarja Laine

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About This Book

The films of Darren Aronofsky invite emotional engagement by means of affective resonance between the film and the spectator's lived body. Aronofsky's films, which include a rich range of production from Requiem for a Dream to Black Swan, are often considered "cerebral" because they explore topics like mathematics, madness, hallucinations, obsessions, social anxiety, addiction, psychosis, schizophrenia, and neuroscience. Yet this interest in intelligence and mental processes is deeply embedded in the operations of the body, shared with the spectator by means of a distinctively corporeal audiovisual style. Bodies in Pain looks at how Aronofsky's films engage the spectator in an affective form of viewing that involves all the senses, ultimately engendering a process of (self) reflection through their emotional dynamics.

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Information

Publisher
Berghahn Books
Year
2015
ISBN
9781782385769
Edition
1
Topic
Media & Performing Arts
Subtopic
Film History & Criticism
NOISE 
33
Pi
, 
just 
as 
the 
protagonist 
undergoes 
migraine 
attacks, 
so 
does 
the 
film 
itself, 
metaphorically 
speaking. 
Pi
’s 
complex 
filmic 
style 
could 
not 
be 
accounted 
for 
merely 
on 
the 
basis 
of 
Frampton’s 
concept 
of 
‘filmind’, 
though. 
Pi
con-
stitutes 
corporeal 
aesthetics 
ruled 
by 
a 
unified, 
transactional 
wholeness 
of 
operative 
logic, 
embodying 
a 
gestural 
and 
postural 
similarity 
to 
Max’s 
lived-
body 
in 
pain. 
Furthermore, 
the 
spectator 
feels 
the 
effects 
of 
this 
pain 
by 
ex-
periencing 
its 
significance 
organically 
from 
the 
inside, 
as 
the 
film’s 
disorderly 
– 
or 
should 
I 
say 
noisy 
– 
condition 
violently 
wrecks 
the 
spectator’s 
embodied 
and 
mindful 
engagement 
with 
it.
Paranoia
Max’s 
physical 
condition 
is 
accompanied 
by 
another 
disturbed 
state 
of 
the 
lived-body, 
namely 
paranoia, 
epitomized 
in 
the 
recurring 
event 
of 
Max 
staring 
through 
a 
peephole. 
This 
is 
shot 
from 
his 
point 
of 
view, 
followed 
by 
a 
series 
of 
close-ups 
of 
his 
hand 
opening 
the 
many 
security 
locks 
on 
his 
door. 
The 
graphic 
match 
and 
the 
quick 
succession 
of 
these 
shots 
almost 
create 
a 
jump 
Figure 
1.1. 
Migrainous 
nausea. 
Screen 
capture, 
Pi
(1998).

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