{"title":"手工痕迹的问题:河濑直美“触觉电影”中的信件、照片和豆沙","authors":"L. Tuan","doi":"10.3366/film.2022.0202","DOIUrl":null,"url":null,"abstract":"This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.","PeriodicalId":42990,"journal":{"name":"Film-Philosophy","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch\",\"authors\":\"L. Tuan\",\"doi\":\"10.3366/film.2022.0202\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.\",\"PeriodicalId\":42990,\"journal\":{\"name\":\"Film-Philosophy\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Film-Philosophy\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/film.2022.0202\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Film-Philosophy","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/film.2022.0202","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
The Matter of Manual Traces: Letters, Photographs and Bean Paste in Naomi Kawase’s Cinema of Touch
This article explores the representation of the hand in three recent fiction films by Naomi Kawase: Sweet Bean (2015), Radiance (2017) and True Mothers (2020). Extending current scholarship that discusses the director’s use of haptic visuality, I argue that Kawase’s haptic cinema further exhibits its hapticity by framing the hand as both a Derridean trace and conduit that leaves behind traces in objects such as bean paste, letters, photo cameras, and photographs. Kawase’s framing of these objects in close-up shots emphasizes not only their materiality and haptic texture but also their foreshadowed physical absence. By reading Kawase through Jacques Derrida’s notion of trace, the article highlights not only the relevance behind understanding Kawase’s recent fiction films through a Derridean lens but also how the director’s own attitude towards cinema, as one that aims to simultaneously frame absence and presence, can also be read as a Derridean approach to cinema.