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Introduction a critical juncture in the history of film theory, about twenty years ago, the two main concerns of film theory were positioning and processing. Feminist film theory and semio-psychoanalytic approaches were interested in how the film positioned the spectator and defined her subjectivity. Meanwhile, arguing against the idea of a passively constructed spectator, cognitivist film theory conceived of the spectator in terms of information processing: the film offered a matrix of infor-mation, a series of cues, which the spectator processed in an exercise of mostly pleasurable problem solving. For all the turbulent sexual desire reflected on in feminist and psychoanalytic film theory, and for all the joy and peace of mind that emanates from duly processed chunks of information, both approaches were, in a way, intensely cerebral, wary or sometimes even distrustful of the corporeal aspects of the film experience in the …