Eye tracking the sublime in spectacular moments of science fiction film

Redmond, Sean 2015, Eye tracking the sublime in spectacular moments of science fiction film. In Redmond, Sean and Marvell, Leon (ed), Endangering science fiction film, Routledge, New York, N.Y., pp.32-50.

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Title Eye tracking the sublime in spectacular moments of science fiction film
Author(s) Redmond, SeanORCID iD for Redmond, Sean orcid.org/0000-0002-1460-8610
Title of book Endangering science fiction film
Editor(s) Redmond, SeanORCID iD for Redmond, Sean orcid.org/0000-0002-1460-8610
Marvell, Leon
Publication date 2015
Series AFI Film Reader Series
Chapter number 4
Total chapters 19
Start page 32
End page 50
Total pages 19
Publisher Routledge
Place of Publication New York, N.Y.
Keyword(s) eye tracking
film genre
science fiction
audience studies
the sublime
Summary In this chapter I will explore science fiction film spectacle as a particular type of endangering sensorial experience. Employing eye-tracking technology to assess where a small group of viewers look, I will contend that through its spectacular set pieces, science fiction film creates two distinct gazing regimes. First, such spectacular scenes create an experience of sublime contemplation where the viewer is (haptically) lost in the wondrous images liquefying before them. These moments of sublime contemplation create the condition where the viewer feels as if they have had an outer-body experience; one that has been cut free from the borders of the linguistic-led self of everyday life. Second, I will argue that certain scenes of science fiction spectacle work to commodify the viewing experience, creating a gazing pattern that is ‘driven’ by the mechanics of the event moment, by the theme park ride aesthetic and the logic of late capitalism. Set in this sensible, empirical context, the sublime dangers of science fiction film can be considered in two distinct ways. On the one hand, when the viewer is caught gazing in a moment of sublime contemplation there is embodied transgression and transcendence: here I will postulate that the viewer exists purely as a carnal being, or are newly if momentarily constituted as post-human, in the impossible present or possible future world that has been spectacularly imagined for them. On the other hand, when the viewer is presented with a spectacle that demands attention to the mechanics and drivers of the scene as it unfolds, a viewing position is created where the very rhythms of the theme park ride is created, where capitalist life is simply being re-engineered. Sublime and spectacular science fiction endangerment, then, liberates and destroys, and it is the encounter between these two vexing poles that is of central concern in this chapter. My focus will predominately be on the eyes, on vision. Undertaking a small-scale empirical study that uniquely utilizes eye tracking technology, this chapter will concentrate on what viewers attend to, gaze at and ‘contemplate’ when viewing two differently constituted ‘spectacle’ sequences: the sun explodes scene from Sunshine (Boyle, 2007) and the Godzilla enters Manhattan scene from Godzilla (Emmerich, 1998).
ISBN 9781138792630
Language eng
Field of Research 190201 Cinema Studies
Socio Economic Objective 970119 Expanding Knowledge through Studies of the Creative Arts and Writing
HERDC Research category B1 Book chapter
Copyright notice ©2015, Taylor & Francis
Persistent URL http://hdl.handle.net/10536/DRO/DU:30076988

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