Görüntü ve Sesin Haptik Duyumsamasına Sinematografik Bir Bakış: India Song
A Cinematographic Perspective on the Haptic Sensation of Image and Sound: India Song

Summary/Abstract: Cinema is not technically an effort to simply reproduce reality or to fully finalize an intellectual judgment. On the contrary, it is only a distant copy of the reality of the world we perceive, an original manifestation of creative thought. In this respect, it can only reach the independent existence of the “film-world” by presenting its own discourse, flow and audiovisual designs and by directly operating its own audiovisual equipment. With this potential cinema, has the power to recreate in its own image, in various forms, the various projections of the as yet captured intersensory experience of the world signifiers woven with grey shadows, distorted reflections and vague contacts that appear and disappear randomly. In this case, it would be appropriate to think of cinema as a process of practicing mental and bodily experiences that find expression in our perception in terms of its technical possibilities and aesthetic existence and that are intertwined with various designs, and of re-enacting their audiovisual explanations through a phenomenological presentation. This study follows the traces of film phenomenology and starts from Laura U. Marks’s conceptualization of haptic visual and auditory images. Through these images conceptualized as haptic sound and image, this study analyzes how haptic /bodily experience in cinema activates possible an intersensory memory through Marguerite Duras’s India Song (Marguerite Duras, 1975). Following the line of film phenomenology, this study focuses on the haptic aesthetic possibilities of the film in question and discusses how the disjunctive encounters that occur during the cinematographic unfolding of sound and image in India Song interrupt the viewer’s habitual perceptual situatedness and reveal the aesthetic conditions of haptic sensation.

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