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ASBJØRN GRØNSTAD
Institutt for Informasjons-og Medievitenskap, Universitetet i Bergen
Abstract
This article argues that Jane Campion’s arthouse thriller In the Cut (2003) instantiates an aesthetics of desire rooted more in an experience of tactility than in voyeurism. Drawing on Laura Marks’s term “haptic cinema,” the article suggests that Campion’s film invites the audience to embrace a different mode of viewing which, contrary to optical visuality, is embodied, immersive, multisensorial and textural.
Keywords: Jane Campion, haptic visuality, feminism, corporeality, art cinema, erotic thriller, desire
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