Society. Spaces. Screens

Abstract

When watching a film, we simultaneously inhabit two spaces: the physical room where we sit and the world where the characters interact. For the audience to become fully immersed in this fictional universe, the narrative must unfold within a believable and coherent environment. This setting is crafted by the production designer, a key figure responsible for translating the narrative into a tangible, visual reality. Despite the significance of this role, production design remains an underexplored area in academic discourse. By carefully selecting and organizing materials, the production designer can create haptic images that evoke tactile memories, eliciting a range of sensory and emotional responses in the viewer. Thus, the audience must be regarded as embodied individuals who engage with the film on a multisensory level. This research, drawing on the works of Giuliana Bruno, C. S. Tashiro, Antoine Gaudin, and Jennifer Barker, examines how material surfaces in film settings serve as critical tools for generating haptic imagery. The production design of The Lighthouse (Robert Eggers, 2019) will be examined to highlight how Craig Lathrop, the head of the art department, successfully created richly textured spaces that enhance the viewer’s experience.