Abstract The winner of many prestigious prizes (Oscar for the best foreign language film, Grand Prize of the Cannes Film Festival, and the Golden Globe among them), the Hungarian film, Son of Saul – according to most critics – represents the Holocaust trauma in a completely new and intriguing way. The filmmakers have invented a special form in order to tackle the heroic task of showing the unwatchable, representing the unthinkable. In this essay I analyse the representational strategy of the film from a phenomenological point of view, and position it in the theoretical framework of haptic sensuality formulated by Vivian Sobchack and Laura U. Marks, among others. I mainly focus on the use of sound, in particular the role of sound design in the creation of haptic space. With the help of the analysis of the representation and artistic invocation of the different bodily senses in the film, I demonstrate how traditional artistic formal elements (characteristic of highly artistic, even experimental productions) are combined with high impact effects often present in popular film forms. I argue that the successful combination of these two factors makes the film an example of artistic immersive cinema.1

中文翻译：

---

创伤现象学。扫罗之子的声音和触觉感官

摘要匈牙利电影《扫罗之子》（Son of Saul）赢得了许多著名奖项（奥斯卡最佳外语片奖，戛纳电影节大奖和金球奖）。一种全新而有趣的方式。电影制片人已经发明了一种特殊的形式，以解决显示不可观看，代表不可想象的英雄任务。在本文中，我从现象学的角度分析了电影的表现策略，并将其置于Vivian Sobchack和Laura U. Marks等人提出的触觉淫荡的理论框架中。我主要关注声音的使用，尤其是声音设计在创造触觉空间中的作用。通过对电影中不同身体感官的表现形式和艺术调用的分析，我展示了传统艺术形式元素（具有高度艺术性，甚至是实验性作品的特征）如何与流行电影形式中经常出现的高冲击力相结合。我认为这两个因素的成功结合使影片成为了艺术沉浸式电影的典范。1