In "Sensing Film Performance', Sean Redmond analyses three films—Under the Skin (Glazer 2013), The Wrestler (Aronofsky 2008), and Lust, Caution (Lee 2008)—with an eye towards the way in which a phenomenological perspective can underscore the essentially embodied nature of experiencing film. Redmond suggests a series of "carnal alignments' emerge between the bodies of the actor, character, and viewer, and that these conjunctions are at once individual (or "deeply personal') and collective. In tracing these alignments, Redmond helps expand our sense of the performative, by positing the cinematic screen itself as a performative environment, and the embodied spectator as a performative being.