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This book offers an interdisciplinary exploration of the identity-forming interplay between text, textiles, and skin in and through film. Its central thesis proposes that film, through the oscillation between textiles and bare skin, creates iconic condensations that open up an associative space of experience. In this process, the material both narrative and textile gives way to the sensual, to affective engagement through the skin.
The study examines the relationship between cinematic reception and the self-reflection of viewers, as well as of society and film itself within their respective historical contexts. Viewers not only experience the events and protagonists but also encounter themselves in the mirror of the Other the other character, the other story, the other cinematic world. The aim is to look beneath symbolic coverings and uncover what lies beneath.
Thanks to its interdisciplinary approach, the book appeals not only to those interested in film, media, and cultural studies, but also to readers from sociology, psychology, (fashion) design, art history, and architecture. It encourages shifts in perspective and interdisciplinary dialogue grounded in the existential significance of skin for all of us. With this unique focus, it transcends boundaries and fosters collaboration.
Table des matières
Introduction.- Film as a medium of (self-)experience.- Text, textile, texture. The red thread and the essential.- Image, identity, authenticity. The image and the becoming.- Machine, human, membrane. Formulation and transformative affect.- Conclusion and outlook.
A propos de l'auteur
Anke Steinborn, Dr. phil., Dipl. Des., is a cultural and media studies scholar, creative consultant, and agile and identity coach. Since 2013, she has been active in academic teaching and research, including positions at Brandenburg University of Technology Cottbus-Senftenberg, Europa-Universität Viadrina, and the Humboldt University of Berlin.
Résumé
This book offers an interdisciplinary exploration of the identity-forming interplay between text, textiles, and skin in and through film. Its central thesis proposes that film, through the oscillation between textiles and bare skin, creates iconic condensations that open up an associative space of experience. In this process, the material—both narrative and textile—gives way to the sensual, to affective engagement through the skin.
The study examines the relationship between cinematic reception and the self-reflection of viewers, as well as of society and film itself within their respective historical contexts. Viewers not only experience the events and protagonists but also encounter themselves in the mirror of the Other—the other character, the other story, the other cinematic world. The aim is to look beneath symbolic coverings and uncover what lies beneath.
Thanks to its interdisciplinary approach, the book appeals not only to those interested in film, media, and cultural studies, but also to readers from sociology, psychology, (fashion) design, art history, and architecture. It encourages shifts in perspective and interdisciplinary dialogue grounded in the existential significance of skin for all of us. With this unique focus, it transcends boundaries and fosters collaboration.
