by Toby Woollaston
“Director Darren Aronofsky appears to make a conscious effort to bring the spectator towards the sensory experience of the protagonist, specifically so that the spectator experiences the physicality of his cinema. The underlying purpose of his construction and deployment of such cinema is not merely entertainment. Instead, it is an existential statement, or enquiry into our place in the world — a place where understanding and meaning are brought about through the spectator’s examination of “self” prompted by the physicality of the cinema.”
It’s good to see that much of my thesis still holds true for Aronofsky’s latest film mother! So, why not celebrate … here’s my thesis in its glorious entirety. Now you can wade your way though Vivian Sobchack’s phenomenological framework, or douse yourself in Don Ihde’s five operational hermeneutic rules and then set yourself alight with Martin Heidegger’s existential rantings. All to the backdrop of Aronofsky’s filmography. It will feel like swimming in molasses. Wonderful stuff!