Blinking and thinking: The embodied perceptions of presence and remembrance in Gaspar Noe's enter the void

Abstract

This article examines significant innovations in the visual communication of subjectivity as found in Gaspar Noe's Enter the Void (2009). Through its mimesis of natural perception, Noe's first person point of view camera is truly subjectivized, and this embodiment passes into the active remembrance of the film's subsequent flashback sequence.