Surface has become an important consideration of sensory film theory, conceived of in various forms: the screen itself as less a barrier than a permeable skin, the site of a meaningful interaction between film and audience; the image as a surface to be experienced haptically, the eye functioning as a hand that brushes across and engages with the field of vision; surfaces within the film, be they organic or fabricated, presenting a tactile appeal. Surface evokes contact and touch, the look or sound it produces (or produced on it) inviting consideration of its materiality, and perhaps even a tactile interchange. If the surface of film, across its varied associations, presents the possibility of an intersubjective contact between film and audience, this article seeks to include another body: that of the filmmaker. There are many people who contribute to the material constitution of a film and I would suggest that we might seek to appreciate its textures just as we might that of a painting. Focus on the fine ...

中文翻译：

---

表面接触：作为意义交换的薄膜设计

表面已成为感官电影理论的一个重要考虑因素，有多种形式：屏幕本身不是屏障，而是可渗透的皮肤，是电影与观众之间有意义的互动场所；图像作为触觉体验的表面，眼睛就像一只手，掠过视野并与视野接触；薄膜内的表面，无论是有机的还是人造的，都具有触觉吸引力。表面唤起接触和触觉，它产生（或在其上产生）的外观或声音引起人们对其物质性的考虑，甚至可能是一种触觉交流。如果电影的表面，通过其各种关联，呈现出电影与观众之间主体间接触的可能性，本文试图包括另一个主体：电影制作人的主体。有很多人对电影的物质构成做出了贡献，我建议我们可以像欣赏绘画一样去欣赏它的质感。专注于罚款...