Abstract
Concerns with screening embodiment have focused on the way in which cinema invites the spectator to consider a lived sense of the human body as a material subject that feels its own subjectivity. In this paper, I suspend the return of gesture to the transcendental human body. Gesture practises and produces complex and diverse bodies, bodies that do not precede their intra-actions but emerge through them. Drawing on the work of Karen Barad, I consider gesture in television that concerns archaeological practices in order to ask how gesture operates in this televisual subgenre to invite new ways of thinking about the human and other-than-human. Focusing on archaeology on television, I consider entangled gestures as intra-acting, material-discursive boundary-making practices that congeal and fix what we come to know as discrete, bounded bodies.
Original language | English |
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Pages (from-to) | 55-68 |
Number of pages | 14 |
Journal | Paragraph |
Volume | 38 |
Issue number | 1 |
DOIs | |
Publication status | Published - Mar 2015 |
Keywords
- archaeology
- television
- UK
- gesture
- Time Team
- Who Were the British?
- agential realism
- Karen Barad