On How Queer Cinema Might Feel

Abstract

Films like Isaac Julien’s True North and Derek Jarman’s seminal Blue (1993) attune viewers to different ways of hearing and sensing cinema, and they mediate different ethical responses to film sound in the context of haptic criticism. Through precise engagement with the French feminist philosophy of Luce Irigaray, this paper posits the thought that such alternative, embodied responses to Blue or True North, haptic or otherwise, might increasingly demarcate a new territory for queer film experience, and this, above all, leads me to question the extent to which haptic criticism can account for such complex, enigmatic viewing relations.

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