Phenomenologists who focus on the bodily aspects of the film experience bring to the fore the method that views the cultural and historical aspects of film as two mutually positioned subjects or objects of view, in contrast to device theory which considers the viewer as the victim of the cinematic apparatus. These phenomenologists contend that art can only be created through experience and that subjective experience is what matters most. The ability of cinema to convey meaning through image and sound has overshadowed other senses, but cinema is an artistic discipline that actually engages all senses. This theory views film as a type of touchable skin that can be experienced through the eyes, with the embodied images giving the audience’s perception and the movie-going experience a multi-sensory framework. The eyes call the other senses into memory after viewing the image, and audiences move their eyes closer to the screen as they watch a film. With respect to the study, haptic visuality refers to a type of perception that alters the viewer’s perspective from one of distance to one of proximity, enabling the viewer to approach the film as if it were skin and to experience close-ups, camera movement, lights, colors, and other cinematic possibilities. When watching a film with this way of seeing, the hegemony of the sense of sight has been proposed as being overthrown with other sensory states including touch, smell, taste, and kinesthesia being activated.

Laura Marks’ (2020) haptic visuality theory is based on this idea, according to which the audience and the film are two distinct bodies placed opposite one another. In haptic visualization, the eyes behave just like the organ of touch. As the opposite of optical vision, haptic vision has the body more involved in the vision process. This study raises the issue of how films also reveal non-visual senses as a multi-sensory experience area in this reciprocal interaction, with this conceptual framework having been formed by Marks’ (2020) ideas. The study first evaluates the development of haptic visuality theory and the historical multi-sensory film experience before analyzing Enyedi’s (2017) film On Body and Soul (Testről és lélekről), which demonstrates the potential for haptic visuality. The conflict between touch and non-touch is the main theme of the film. The study’s themes include close-up shots and the use of light and color elements to bring the viewer closer to the skin of the film, breaking the hegemony of sight and enabling an inter-sensory viewing experience. The study also discusses how the film itself can be considered tactile. Together with the sense of sight, hearing is another fundamental sense that has given rise to cinema. The study addresses the emotion the music used

in the film evokes in terms of the character and the audience during the film analysis; however, hearing could not be detailed because the sound element in the film lags behind other elements. On Body and Soul is a film that demonstrates “how much is under the surface,” in the words of its director Ildikó Enyedi (2017). This work aims to reveal what is hidden under the surface. The study’s analysis of the film On Body and Soul qualifies it as a haptic film because it appeals to the senses of sight, touch, taste, smell, and kinesthesia. However, the film encourages synesthesia through its depictionsof multisensory perception. The music the audience hears, the colors that envelop the environment, the taste of the leaves the deer eat with their mouth movements, and the characters’ inner suffering all help the audience feel cold and heat. The use of closeups and wide-angle shots in the film enhances the viewer’s perception of space. The study’s findings encourage future research on haptic visuality and intersensory experience in cinema and advises that synesthetic and kinesthetic experiences in films that can emphasize the value of auditory elements be given priority in their analyses.