Apocalypse-Cinema: 2012 and Other Ends of the World
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runn...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Fordham University Press
[2015]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UPA01 UBG01 FCO01 Volltext |
| Zusammenfassung: | Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit.Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an acinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups.The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing.In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the "ultratestimonial" structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) |
| Beschreibung: | 1 online resource (182 pages) |
| ISBN: | 9780823264834 |
| DOI: | 10.1515/9780823264834 |
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| isbn | 9780823264834 |
| language | English |
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| spelling | Szendy, Peter Verfasser aut Apocalypse-Cinema 2012 and Other Ends of the World Peter Szendy New York, NY Fordham University Press [2015] © 2015 1 online resource (182 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit.Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an acinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups.The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing.In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the "ultratestimonial" structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard In English Apocalypse Countdown Speculative Realism cineworld deconstruction film nihilism ART / Film & Video bisacsh Apocalypse in motion pictures Science fiction films History and criticism Bishop, Will Sonstige oth Weber, Samuel Sonstige oth https://doi.org/10.1515/9780823264834 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Szendy, Peter Apocalypse-Cinema 2012 and Other Ends of the World Apocalypse Countdown Speculative Realism cineworld deconstruction film nihilism ART / Film & Video bisacsh Apocalypse in motion pictures Science fiction films History and criticism |
| title | Apocalypse-Cinema 2012 and Other Ends of the World |
| title_auth | Apocalypse-Cinema 2012 and Other Ends of the World |
| title_exact_search | Apocalypse-Cinema 2012 and Other Ends of the World |
| title_exact_search_txtP | Apocalypse-Cinema 2012 and Other Ends of the World |
| title_full | Apocalypse-Cinema 2012 and Other Ends of the World Peter Szendy |
| title_fullStr | Apocalypse-Cinema 2012 and Other Ends of the World Peter Szendy |
| title_full_unstemmed | Apocalypse-Cinema 2012 and Other Ends of the World Peter Szendy |
| title_short | Apocalypse-Cinema |
| title_sort | apocalypse cinema 2012 and other ends of the world |
| title_sub | 2012 and Other Ends of the World |
| topic | Apocalypse Countdown Speculative Realism cineworld deconstruction film nihilism ART / Film & Video bisacsh Apocalypse in motion pictures Science fiction films History and criticism |
| topic_facet | Apocalypse Countdown Speculative Realism cineworld deconstruction film nihilism ART / Film & Video Apocalypse in motion pictures Science fiction films History and criticism |
| url | https://doi.org/10.1515/9780823264834 |
| work_keys_str_mv | AT szendypeter apocalypsecinema2012andotherendsoftheworld AT bishopwill apocalypsecinema2012andotherendsoftheworld AT webersamuel apocalypsecinema2012andotherendsoftheworld |