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trans formations
Feeling Cinema
Affect in Film/Composition Pedagogy
COLLEEN JANKOVIC
trans formations
COLLEEN JANKOVIC
Feeling Cinema
Referring to the various ways that film might be incorporated in compo-
sition curricula, Daniel H.Wild notes how the filmic text itself resists usual
techniques of reading:
Part of the difficulty in beginning to work with the material of
film, then, is to problematize precisely our tendency to reduce
film to a legible text, which excludes more elusive concepts such
as, for example, affective responses to film through spectator posi-
tioning, the experience of time through the duration of images,
or our immersion into the visuality and the play of light. (25)
Film is elusive, like affect, because it moves: it moves viewers to feel, and it
moves in relation to viewers. In defense against approaches to teaching film
that cast it as inconsequential, the response might be to enact an overly
consequential approach. If the incessant sequentiality of film makes it trou-
blesome as an object in the classroom (it keeps moving), a consequential
approach stops, slows down, or pauses film to emphasize it as an object of
study and an object worth studying. Film analysis starts to resemble some-
thing like dissection or the careful and methodic workings of a scientific
lab experiment. However, these temporal and technical interventions
might also be understood as momentarily quelling the over-stimulation
that occurs with more conventional and casual modes of viewing.
Teaching cinema challenges us to consider with our students: can we
be critics and spectators at the same time? Moreover, can “elusive con-
cepts” such as affect, including, but not limited to, pleasure, play a produc-
tive role in film pedagogy? Should we avoid immersive spectatorship in
the classroom while at the same time positing pleasure as the primary
rationale for studying cinema?
Taking a reflective approach to these questions, Patty White and
Timothy Corrigan’s introductory text Film Experience responds to the
question “why film studies?”:
Students bring a lifetime of exposure to the movies to the class-
room, where their knowledge can be built upon in systemic ways.
In other words, the study of movies takes common knowledge
and pleasure seriously while acknowledging that film culture is
richer, more varied, and more challenging than most of us real-
ize.…Far from destroying our pleasure in the movies, studying
them increases the ways we can enjoy them thoughtfully. (7)
I use Film Experience in my Introduction to Film course for non-majors
because experience is integrated into its primary focus on industry, cul-
ture, and approaches to film study. Readers can consider feeling and pleas-
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tionship to film,” and that when writing about personal response and
experience students must “also explore the ways in which a learned
response finds itself inscribed in a natural, sometimes even bodily, reaction
to a visual experience” (3, 9).Valuing student response and experience in
the classroom need not amount to uncritical reflection or unquestioned
validation of simplistic judgments. It can be an opportunity to interrogate
affective response and to show the relationship between seemingly private
opinions and broader cultural positioning.
Many feminist, postcolonial, critical race, and queer theory scholars
look to feeling and affect as alternatives to mind/body distinctions, canon-
ical readings, and other regulatory norms of intellectual work in the acad-
emy. For Catherine Lutz and Lila Abu-Lughod, emotion carries this sort
of baggage in relation to academic disciplinarity:
Tied to tropes of interiority and granted ultimate facticity by
being located in the natural body, emotions stubbornly retain
their place, even in all but the most recent anthropological discus-
sions, as the aspect of human experience least subject to control,
least constructed or learned (hence most universal), least public,
and therefore least amenable to sociocultural analysis. (1)
If we understand affect not simply as an interior quality of individuals or
groups of spectators, it becomes a critical question not reducible to film
reception studies or questions of identity.We can understand affective read-
ings as political—particularly in relation to culture and history—as well as
capable of destabilizing identificatory viewings. One way to dislodge
assumptions about identification and spectatorship is to ask students to think
of films where they mis- or dis-identify with a film’s protagonist, hero, or
message. Since desire is complex, the reasons viewers identify or don’t iden-
tify with particular bodies or ideas onscreen are not consistent, obvious, or
easy to explain. The push and pull between film and viewer, as well as
among students, can be a rich site for exploring the rhetoric of cinema and
for students to consider their subject positions in relation to particular films.
Course work that asks students to think about what kind of audience a film
seems to presume or anticipate can be helpful in this regard, especially when
students consider the different kinds of cultural positioning and assumptions
they themselves bring to films, including how dominant forms of cinema
and other media rely on conventions that produce certain kinds of expec-
tations. Understanding their “own” responses in a broader cultural context
also means that students can think about what motivates their responses and
analyze how films engage different audiences in different ways.This strategy
has been useful when students feel defensive about their like or dislike of a
film, since their response can be seen as a valuable way into a critical discus-
sion rather than understood as an irrelevant or purely subjective aside. Once
acknowledged and explored, these evaluations can lose some of their per-
sonal prickliness, making it more comfortable to discuss them in class. This
distancing move from personal evaluation and judgment can widen an
understanding of how film makes meaning in relation to individual, embod-
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ied, and site- and time- specific screenings, as well as in relation to publics,
cultural tropes, and dominant narrative and visual codes.
Vivian Sobchak argues that film theory traditionally presumes the “fun-
damental intelligibility of the film experience,” and thus rarely accounts for
how film “might be engaged as something more than just an object of con-
sciousness” (20). In light of these observations, an affective film pedagogy can
engage with students’ responses to, experiences with, or feelings about a film
in close relation to particular moments and details of the film.While introduc-
ing students early on to discipline-specific language makes film more immedi-
ately intelligible, delaying the introduction of film analysis can bridge film
interpretation and affective experience. In the film/composition classroom that
is primarily an introductory writing course, there may simply not be enough
time to introduce film analysis. I use description assignments, which I carefully
distinguish from sequential narrative plot summary, to ask students to notice
more details and formal choices in course films. Since I introduce description
as an act of translation and interpretation, and not simply the narration of hap-
penings, students are more likely to write creative and thoughtful descriptions
of scenes that mimic the feeling, look, sound, rhythm, and movement of filmic
moments as they perceive them.To test this approach, I’ve used non-narrative
experimental films such as Fatimah Tobing Rony’s feminist and postcolonial
On Cannibalism (1994) to challenge students to make sense of what’s on screen
and to translate it into writing. Through this assignment, students are encour-
aged to choose and re-watch several times a one-minute or shorter segment
that they are baffled by—and Rony’s film offers many—in order to generate
questions about what they see and hear. The first part of the assignment asks
students to “just describe,” basing their writing on details in the film and, at
least for this part of the assignment, to avoid evaluative and abstract words (like
“beautiful” or “scary”) as well as intensifiers (like “very” and “really”).The sec-
ond part of the assignment asks students to “start to ask questions and make
interpretations” by generating a short list of potential interpretive leaps and/or
questions based on the description and through asking “why?” and “so what?”
about specific images, sounds, etc. Describing this film would be a challenge to
any writer, and the initial pieces were messy and awkward, but for the most
part the students came up with open-ended questions firmly located in the
details of the film. Students asked questions which offered jumping off points
for further analysis:
[Citing audio from the film:] “My country ’tis of…”: why does
she leave out thee? Interesting, maybe she leaves out thee because
she doesn’t feel as if this country is hers. Feels like her people are
not wanted here?
What was the point of using the old, existing audio from a
previous movie instead of making a new dialogue for the film?
Does she [the narrator] believe the things she tells us about her
ancestors being cannibals?
I encourage students to write about moments that provoke a personal
affective response—even if the response is boredom or frustration—
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because once their writing attempts to move the reader into a similar
response (through concrete details rather than overt evaluative statements),
the interpretive process becomes more meaningful. For example, several
students felt defensive about the racialized themes in Rony’s film, particu-
larly white students who felt personally implicated by what seemed like
accusations, particularly in regard to the film’s critique of white colonialist
oppression of indigenous people through violent colonization as well as
representation in science, museums, and popular film and media. However,
when defensive students attempted to “just describe” the cause of these
feelings by tracing them back to the concrete details of the film, they were
better able to avoid focusing only on their discomfort. The descriptive
exercise asked them to keep writing, revising, watching, and thinking,
whether alongside or in spite of a sense of resistance or exclusion.
When a class of twenty students shares their descriptions of the same
few seconds of film they see how each description varies, demonstrating
how personal, embodied spectatorship and film’s formal elements inter-
twine to create meaning. While students begin this exercise focused on
their affective responses, they move toward investigating the details and
causes, in this way giving themselves over to the film’s logic. “Feeling cin-
ema” in this way positions students as responsible critics who must recog-
nize their affective responses, their spectatorial positioning, and how they
subsequently understand moving images. A relational approach insists that
affect need not be something to overcome in favor of a seemingly more
rigorous critical process, and in my experience it can increase students’
critical engagement with cinema and expand interpretative possibilities.
This understanding of relationality and expanded interpretative possi-
bility is in part inspired by Eve Kosofsky Sedgwick’s ideas about affect,
temporality, and pedagogy in Touching Feeling: Affect, Pedagogy, Performativity.
Sedgwick discusses affect in terms of a kind of queer temporality, one that
opens toward possibilities beside normative temporality and accompanying
notions of progress and certainty. Beside becomes a key term for Sedgwick
since it challenges us to think other than in terms of getting “beyond,”
“beneath” or “outside” certain conceptual frameworks. It allows for mean-
ing to expand sideways. Rather than insist students move past what is often
assumed as their uncritical relationship to cinema in order to get down to
the real business of critical work, the approach I use places affect, judgment,
and response beside critical work, implicitly arguing that meaning is made
between feeling and form.
Thinking sideways also queerly acknowledges that we can never
know in advance what kinds of critique will produce new questions, or
alternative interpretive models. Because sideways thinking undermines
the distinction between success and failure, I find this useful for encour-
aging students to take bolder interpretive and writing risks, and to ask
critical questions about what constitutes “good” writing in different
contexts. For example, sensitivity to context might have students consider
the appropriateness of clarity and accessibility, or whether persuasion
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image speeds up, slows down, seems to jump off the tracks) suggested it
was a rich moment to discuss.
I encouraged the student to further her investigation into the connec-
tion between the film and her own horse memory in her essay, which
became a descriptive narrative as well as an attempt to consider what it
means to retell a memory that is foggy, what it means to try to narrate an
experience that is both memorable and yet was experienced as traumatic.
She described losing time, or not quite recalling how she knew what to
do to try to save the horse and its offspring.The difficulty of fully remem-
bering the events led her to more creative sentence forms and to experi-
ment with more sensorial description. Here she describes attempting to
pull the foal out of the mare with chains:
After forty-five minutes, I insisted [sic] to try to loop the chains
just once more around the hooves. I reached in one last time: the
mare’s insides were hot, my hand felt compressed between the
masses, I was unable to see what I was doing—I had to rely solely
on my sense of touch. There was enough room to twist my arms
around, but not enough for the two of them to work together in
a coherent way. The blood was running down my arm and onto
the cement floor of the stall.
The student’s attempts to both describe and understand her own experi-
ence allowed her to see the film differently, and though her essay primarily
focuses on her own memories the questions she asked were relevant to
the film as well. She noticed that Ari’s memory is also marked as moving
through time differently, that the traumatic memory exceeded conven-
tional narrative constraints and perhaps explained why Waltz resorted to
alternatives—animation, a reference to a broken projection of a series of
still images, etc. In class and in office hours, we discussed how she might
model these representational strategies from the film in her own writing.
The result was her focus on multiple senses rather than only visual
description or a summary of action. Creative use of punctuation was a
strategy for her. Rather than rely solely on sentences that characterized
the experience (“my mind was blank”), she crafted paragraphs that
attempted to show, through punctuation and word choice, her feeling of
losing a sense of the events taking place.
Another student, who focused primarily on an exploration of the
film’s complicated weaving of fact and fiction, reality and memory, also
experimented with descriptive writing as a mode of analysis. She focused
on a scene in which Ari meets his friend Ori in Ori’s home. Ori explains
a memory experiment where participants were shown a fake photograph
of themselves as a child at a fairground, to which most of the participants
supply what seems to them a real memory of the fair. Waltz With Bashir
depicts the experiment through animation, the film’s primary mode,
while also suggesting something about the relationship between represen-
tational modes like photography and memory. After a description of this
moment in the scene the student included this inquiry:
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WORKS CITED
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Caille, Patricia. “Interpreting the Personal: The Ordering of the Narrative
of Their/Our Own Reality.” Bishop. 1-22.
Corrigan, Timothy and Patricia White. The Film Experience: An Introduc-
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‘Electronic Technology’.” Bishop. 170-181.
Genet, Jean. Trans Daniel R. Dupêcher and Martha Perrigaud. “Four
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Mitchell, W.J.T. What Do Pictures Want?:The Lives and Loves of Images.
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On Cannibalism. Dir. Fatimah Tobing Rony. Women Make Movies.1994.
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