Mysterious Object at Noon (stills), dir. Apichatpong Weerasethakul, 2000
eXistenZ (stills), dir. David Cronenberg, 1999
"I want to emphasize the tactile and contagious quality of cinema as something we viewers brush up against like another body. The words contact, contingent, andcontagion all share the Latin root contingere, “to have contact with; pollute, befall.” The contingent and contagious circumstances of intercultural cinema events effect a transformation in its audience. As hybrids, the works challenge the separateness of cultures and make visible the colonial and racist power relations that seek to maintain this separation. The works pollute viewers’ ideas of cultural distinction, implicating each of us in them. In addition, as well as bearing meanings to the audience, these works receive impressions from the people who have seen them. Intercultural cinema builds up these impressions like a palimpsest and passes them on to other audiences. The very circulation of a film among different viewers is like a series of skin contacts that leave mutual traces."
Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses
The Memo Book (stills), dir. Matthias Müller, 1989
Carl Phillips, from “Late in the Long Apprenticeship,” in Silverchest
Benny’s Video (stills), dir. Michael Haneke, 1992
Macao (stills), dir. Joseph von Sternberg / Nicholas Ray, 1952