Pulse in Cinema

The Aesthetics of Horror

Inbunden, Engelska, 2020

Av Sharon Jane Mee, ANROWS) Mee, Sharon Jane (Publications Officer, Sharon Mee

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When we think of the pulse in cinema, we may think of the heartbeat of the spectator as they respond to affective or moving scenes in the film, or how fast-paced and shocking images exacerbate this affective response. Conceptually extending cinema spectatorship, The Pulse in Cinema contends that cinema is an energetic arrangement of affective and intense forces, where the image and the spectator are specific components. Analysing body horror films such as The Tingler (1959), Dawn of the Dead (1978) and The Beyond (1981), this book builds on Lyotard’s concept of the dispositif, Deleuze’s work on sensation and Bataille’s economic theory to conceptualise a pulse in cinema, arguing for its importance in cinema spectatorship theory.

Produktinformation

Utgivningsdatum2020-12-15
Mått156 x 234 x 22 mm
Vikt494 g
FormatInbunden
SpråkEngelska
Antal sidor232
FörlagEdinburgh University Press
ISBN9781474475846

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Film inom Kultur

AcknowledgementsList of IllustrationsIntroductionRosalind E. Krauss’s Theory of the PulseRhythm and Pulse The Pulse: A Philosophical EnquiryBody Horror1. The Rhythm of Life: The Pulse in the ImageRhythm and PulseRhythm in Experimental CinemaAmerican Avant-garde and the Structuralist/MaterialistsThe French ImpressionistsDadaProtocinema: Étienne-Jules MareyThe Pulse in Psychoanalysis: Sigmund Freud2. The Rhythm of Life: The Pulse in the SpectatorSurfaces of Inscription and Passages of IntensityMovement, and an OpeningThe Logic of Sensation as a Diastolic–systolic OpeningThe Aesthetics of the Open: Georges Franju’s Le Sang des bêtes/Blood of the Beasts (1949)A Libidinal Economy, and an OpeningCandour as the Body’s Openness to an Outside3. Aisthesis and Dispositif: The Pulse and its AnaloguesExtracting the Fear that Tingles the Spine: The Hype, the Buzz of the Gimmick, and the Bottom LineThe Execution: The Tingler (1959)Aisthesis and Prescribed LinesPrescription and the Aesthetics of Blood SpilledThe Pulse ‘Exposed’Dispositif: Lines of FrightFigural Analogues or ‘a Metonymy Without End’: The Heart that Throbs, the Spine that Tingles, the Mouth that Screams. Do you have the Guts?4. Automutilation and Metonymy: The Economy of the PulseGeneral Economy as Energetic ExpenditureTwo General Economies of Communication and CommunionAutomutilation: Effects on the FleshMetonymy and the ‘Operation’ to Undo IdentityAutomutilation and George A. Romero’s Dawn of the Dead (1978)An Operation in the Morgue: Lucio Fulci’s L’aldilà/The Beyond (1981)The Sovereign Operation as Affective ExperienceThe Pulse as a Sovereign Operation in Horror Cinema5. Blood and Convulsive Affect: Vectors of the Pulse as Sovereign OperationsAndrzej Żuławski’s Possession (1981)Possession and DispossessionBody Horror and Convulsive AffectThe Copula and the Copulation of Bodies: The Convulsions of Language and Self, Even (Fucking Language)The Movement-Image and Vectors of SensationThe Machinic and the Non-MachinicThe Vector and CommunicationThe Magnitude and Direction of Vectors that Result in Possession and DispossessionMaterial Vectors and their (Non)senseBibliographyFilmographyIndex.