New PDF release: Apocalypse-Cinema: 2012 and Other Ends of the World

By Peter Szendy, Will Bishop, Samuel Weber

ISBN-10: 0823264815

ISBN-13: 9780823264810

Apocalypse-cinema is not just the tip of time that has so frequently been staged as spectacle in movies like 2012, The Day After Tomorrow, and The Terminator. by means of taking a look at blockbusters that play with common annihilation whereas additionally paying shut awareness to motion pictures like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this publication means that within the apocalyptic style, movie gnaws at its personal limit.

Apocalypse-cinema is, even as and with an identical double blow, the top of the realm and the top of the film. it's the consummation and the (self-)consumption of cinema, within the kind of an acinema that Lyotard evoked because the nihilistic horizon of filmic economic system. The innumerable countdowns, incredible radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its economic system of time and its rewinds, its overexposed pictures and fades to white, its freeze-frames and electronic touch-ups.

The apocalyptic style isn't just one style between others: It performs with the very stipulations of risk of cinema. And it bears witness to the truth that, at any time when, in every movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.

In a Postface in particular written for the English variation, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, publicizes itself as cinders that question the "ultratestimonial" constitution of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic constitution that speculative materialists have positioned below critique, permitting in basic terms the ashes it bears to be heard.

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What we see at that moment goes far beyond the debauchery of special effects whose goal is, as we say, to give us an eyeful. Of course, the big metallic arm of the crane-truck, extended at a right angle to the direction of the chase, bumps up against and clears everything in its way: the cars parked along the sidewalk leap and explode one after the other, as do the electrical and telephone poles, the stoplights. . For a brief interlude the fugitives’ pickup takes over and lays waste TER MINATOR, O R TH E ARCH ETR AVELING SH OT (( 27 to the lawns of the houses along the road, and then we find Schwarzie hanging on to the crane that, in the midst of the crash of broken glass and dented sheets of metal, sweeps up shipping crates, entire offices, pieces of warehouses, or bits of facades.

What then are these poor refugees—who include Jack’s son, Sam Hall (Jake Gyllenhaal)—running from as they now try to return to their refuge in the library? They are running away from a surging immobility. A freezing necrosis that releases a kind of sped-up wave that transforms everything it meets into one big freeze-frame. The general freezing threatens to reach even the film reel itself. The film itself would thus tend to become a tableau vivant, a mere painting, barely alive. It lasts for about two minutes.

Today, now, and right away, but starting from tomorrow, counting backwards on the basis of what we see coming: To state this distended regime of apocalyptic arrivance, the South Park episode alludes to another of Roland Emmerich’s superproductions, The Day After Tomorrow, 2004, placed under the sign of a general freeze-over during a new glacial era. We will have to linger with this film for a bit in order to see the immobility at work in it, to see the solidification of cinematic motion and emotion working at the very heart of the most apparently turbulent reels.

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Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy, Will Bishop, Samuel Weber


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