Steen Ledet Christiansen is professor of popular visual culture at Aalborg University, Denmark.

• Table of ContentsIntroduction: Feeling Weird1. Creepiness, Ecstasy, and Weird Narration in The OA2. Unsettling Time in Dark3. Ominous Metamorphosis in Starry Eyes4. Discontinuity and Unease in Stranger Things5. Eerieness and Disorientation: Channel Zero: Candle Cove and David Bowie’s “Blackstar” and “Lazarus”6. Unworlding and Disquiet in AnnihilationConclusion: For the Weird

Christiansen’s brilliant, engaging, and informative text makes a strong argument for cinematic weird’s classification as a genre, albeit underneath the umbrella of fantasy and somewhere between horror and science fiction—what Christiansen refers to as an "interzone." He clarifies what makes weird cinema weird, pointing to the defining elements—atmosphere, narration, and worlding—that combine to create eerie, uncanny cinematic spaces where anything can and does happen. Through an in-depth analysis of film, television, and music videos, the author demonstrates the extent and influence of new cinematic weird on today’s media market…. A must-read for those unfamiliar with new cinematic weird or for those wishing to expand their understanding of it, Christiansen’s text supplies a concise overview with well-chosen examples that help contextualize the techniques used to create the disquieting narrative constructs of these unique, uncanny cinematic landscapes. Recommended. All readers.

Steen Ledet Christiansen is professor of popular visual culture at Aalborg University, Denmark.

• Table of ContentsIntroduction: Feeling Weird1. Creepiness, Ecstasy, and Weird Narration in The OA2. Unsettling Time in Dark3. Ominous Metamorphosis in Starry Eyes4. Discontinuity and Unease in Stranger Things5. Eerieness and Disorientation: Channel Zero: Candle Cove and David Bowie’s “Blackstar” and “Lazarus”6. Unworlding and Disquiet in AnnihilationConclusion: For the Weird

Christiansen’s brilliant, engaging, and informative text makes a strong argument for cinematic weird’s classification as a genre, albeit underneath the umbrella of fantasy and somewhere between horror and science fiction—what Christiansen refers to as an "interzone." He clarifies what makes weird cinema weird, pointing to the defining elements—atmosphere, narration, and worlding—that combine to create eerie, uncanny cinematic spaces where anything can and does happen. Through an in-depth analysis of film, television, and music videos, the author demonstrates the extent and influence of new cinematic weird on today’s media market…. A must-read for those unfamiliar with new cinematic weird or for those wishing to expand their understanding of it, Christiansen’s text supplies a concise overview with well-chosen examples that help contextualize the techniques used to create the disquieting narrative constructs of these unique, uncanny cinematic landscapes. Recommended. All readers.

Steen Ledet Christiansen is professor of popular visual culture at Aalborg University, Denmark.

• Table of ContentsIntroduction: Feeling Weird1. Creepiness, Ecstasy, and Weird Narration in The OA2. Unsettling Time in Dark3. Ominous Metamorphosis in Starry Eyes4. Discontinuity and Unease in Stranger Things5. Eerieness and Disorientation: Channel Zero: Candle Cove and David Bowie’s “Blackstar” and “Lazarus”6. Unworlding and Disquiet in AnnihilationConclusion: For the Weird

Christiansen’s brilliant, engaging, and informative text makes a strong argument for cinematic weird’s classification as a genre, albeit underneath the umbrella of fantasy and somewhere between horror and science fiction—what Christiansen refers to as an "interzone." He clarifies what makes weird cinema weird, pointing to the defining elements—atmosphere, narration, and worlding—that combine to create eerie, uncanny cinematic spaces where anything can and does happen. Through an in-depth analysis of film, television, and music videos, the author demonstrates the extent and influence of new cinematic weird on today’s media market…. A must-read for those unfamiliar with new cinematic weird or for those wishing to expand their understanding of it, Christiansen’s text supplies a concise overview with well-chosen examples that help contextualize the techniques used to create the disquieting narrative constructs of these unique, uncanny cinematic landscapes. Recommended. All readers.