When we talk of 'seeing' a film, we do not refer to a purely visual experience. Rather, to understand what we see on screen, we rely as much on non-visual senses as we do on sight. This new book rethinks the body in the cinema seat, charting the emergence of embodied film theory and drawing on developments in philosophy, neuroscience, body politics and film theory. Through the prism of Alfred Hitchcock's films, we explore how our bodies and sensual memory enable us to quite literally 'flesh out' what we see on screen: the trope of nausea in "Frenzy", pollution and smell in "Shadow of a Doubt", physical sound reception in the "Psycho" shower scene and the importance of corporeality and closeness in "Rear Window". We see how the body's sensations have a vital place in cinematic reception and the study of film.

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

Introduction
PART 1: THE THEORY
1. Film and Embodiment: New Sensations in Spectatorship
2. Philosophy and Embodiment: Re-figuring the Corporeal Self
3. Neuroscience and Embodiment: Exploring the Thinking Flesh
PART 2: THE FILMS
4. On Hitchcock
5. On Taste and Digestion
6. On Smell
7. On Hearing
8. On Touching
Conclusion