Filmski dotik: O vlogi haptičnega v filmski umetnosti

Mirt Komel

Povzetek:

Prispevek prevprašuje status metaforike dotika, kakor se pojavlja v umetnosti nasploh in še posebej v filmski umetnosti, skozi serijo mislecev, ki jih druži neka določena filozofija dotika. V prvem koraku je opredelitev metafizičnega dotika v prenesenem pomenu pripisana Platonu, mišljenje dotika v dobesednem pomenu besede pa Aristotelu. Tako izpeljana metafora in metonimija dotika služi v naslednjem koraku za raziskovanje statusa haptično-taktilnega v filmski umetnosti, predvsem z vidika določenih avtorjev marksistične in druge provenience (Horkheimer, Adorno, Benjamin, Arendt), ki so zaznali izrazito nasilen vidik sodobnih tehnologij umetnosti. V sklepnem delu pa je skozi Lacana in Nancyja podana možna alternativna interpretacija, po kateri je mogoče misliti dotik v filmski umetnosti ne kot nekaj nasilnega, temveč kot nekaj emancipatornega.

Abstract:

Cinematic Touch: The Role of Haptic in the Cinematic Arts

The article questions the status of the metaphor of touch, as it appears in arts in general and cinematic arts in particular, following a line of thinkers that can be grouped together based on a certain philosophy of touch. First, the definition of a metaphysical touch in the metaphorical meaning of the word is attributed to Plato, while the thinking of touch in its literal meaning to Aristotle. The metaphor and metonymy of touch, developed in this way, are then used to examine the status of the haptictactile in the cinematic arts, especially from the perspective of certain authors of Marxist and other provenience (Horkheimer, Adorno, Benjamin, Arendt), who have detected a distinctively violent aspect of contemporary artistic technologies. Lastly, an alternative interpretation is proposed, deriving from Lacan and Nancy, according to which there is a possibility to think the touch in cinematic arts not as something violent, but emancipatory.