Paul Elliott teaches in the Department of Literature, Film and Theatre Studies at the University of Essex.

'This book is a confident and original intervention in the field of contemporary film theory. Elliott asserts the crucial role of sensorial engagement in film viewing and details its cinematic expression. His theoretical scope is impressively broad-ranging and includes the evidential findings of neurology and biology, art and cultural studies in order to locate the relevance of its concerns beyond the subject-specific limits of film studies. It provides a seamless integration of relevant conceptual 'machines' such as those of phenomenology into a well-informed and precisely illustrated knowledge of the cinematic medium.' - Anna Powell, Senior Lecturer in Film and English, Manchester Metropolitan University; 'This is a fascinating and elegantly written account of questions of the 'scopic regime' in film theory. In foregrounding the body and its multiple sense responses in film reception, this book promises to add a new dimension to readings of Hitchcock's work and its impact on audiences. This project offers a very useful complement to the critical approaches of Jonathan Crary, Laura Marks, Barbara Kennedy, Vivian Sobchack, and others interested in expanding film interpretation beyond the realm of the visual.' - Jeffrey Geiger, Senior Lecturer in Film, University of Essex, Editor of the Norton Guide to Film Analysis

• IntroductionPART 1: THE THEORY 1. Film and Embodiment: New Sensations in Spectatorship 2. Philosophy and Embodiment: Re-figuring the Corporeal Self3. Neuroscience and Embodiment: Exploring the Thinking FleshPART 2: THE FILMS 4. On Hitchcock5. On Taste and Digestion 6. On Smell7. On Hearing 8. On TouchingConclusion

Paul Elliott teaches in the Department of Literature, Film and Theatre Studies at the University of Essex.

'This book is a confident and original intervention in the field of contemporary film theory. Elliott asserts the crucial role of sensorial engagement in film viewing and details its cinematic expression. His theoretical scope is impressively broad-ranging and includes the evidential findings of neurology and biology, art and cultural studies in order to locate the relevance of its concerns beyond the subject-specific limits of film studies. It provides a seamless integration of relevant conceptual 'machines' such as those of phenomenology into a well-informed and precisely illustrated knowledge of the cinematic medium.' - Anna Powell, Senior Lecturer in Film and English, Manchester Metropolitan University; 'This is a fascinating and elegantly written account of questions of the 'scopic regime' in film theory. In foregrounding the body and its multiple sense responses in film reception, this book promises to add a new dimension to readings of Hitchcock's work and its impact on audiences. This project offers a very useful complement to the critical approaches of Jonathan Crary, Laura Marks, Barbara Kennedy, Vivian Sobchack, and others interested in expanding film interpretation beyond the realm of the visual.' - Jeffrey Geiger, Senior Lecturer in Film, University of Essex, Editor of the Norton Guide to Film Analysis

• IntroductionPART 1: THE THEORY 1. Film and Embodiment: New Sensations in Spectatorship 2. Philosophy and Embodiment: Re-figuring the Corporeal Self3. Neuroscience and Embodiment: Exploring the Thinking FleshPART 2: THE FILMS 4. On Hitchcock5. On Taste and Digestion 6. On Smell7. On Hearing 8. On TouchingConclusion

Paul Elliott teaches in the Department of Literature, Film and Theatre Studies at the University of Essex.

'This book is a confident and original intervention in the field of contemporary film theory. Elliott asserts the crucial role of sensorial engagement in film viewing and details its cinematic expression. His theoretical scope is impressively broad-ranging and includes the evidential findings of neurology and biology, art and cultural studies in order to locate the relevance of its concerns beyond the subject-specific limits of film studies. It provides a seamless integration of relevant conceptual 'machines' such as those of phenomenology into a well-informed and precisely illustrated knowledge of the cinematic medium.' - Anna Powell, Senior Lecturer in Film and English, Manchester Metropolitan University; 'This is a fascinating and elegantly written account of questions of the 'scopic regime' in film theory. In foregrounding the body and its multiple sense responses in film reception, this book promises to add a new dimension to readings of Hitchcock's work and its impact on audiences. This project offers a very useful complement to the critical approaches of Jonathan Crary, Laura Marks, Barbara Kennedy, Vivian Sobchack, and others interested in expanding film interpretation beyond the realm of the visual.' - Jeffrey Geiger, Senior Lecturer in Film, University of Essex, Editor of the Norton Guide to Film Analysis

• IntroductionPART 1: THE THEORY 1. Film and Embodiment: New Sensations in Spectatorship 2. Philosophy and Embodiment: Re-figuring the Corporeal Self3. Neuroscience and Embodiment: Exploring the Thinking FleshPART 2: THE FILMS 4. On Hitchcock5. On Taste and Digestion 6. On Smell7. On Hearing 8. On TouchingConclusion