ABSTRACT
This chapter starts with a note on some theoretical ideas about spectators’ sensory perceptions of muscular bodies. Aerial bodies are received bodily, and viscerally. It is clearly an individual's social experience of motion when, for example, a woman travelling alone might consider train travel unsafe for reasons to do with her gender, and a spectator's economic position might determine the extent of his or her familiarity with train or air travel motion. Like circus, bodies in action stunts for sensory effect are ubiquitous in cinema's imagery of motion, and more recently in game-based technologies, which often have unique motion aesthetics that can induce dizziness. Wenders repeatedly uses a male driver in his other films to show characters' movement as they unsuccessfully seek 'a consummation of the spatial and emotional dynamics' in his cinema's visualization of the 'interaction of motion and emotion'.
