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Utgivning, distribution etc. Durham : Duke University Press, 2014
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Fysisk beskrivning 347 pages illustrations (black and white, and colour) 23 cm
Anmärkning: Bibliografi etc. Includes bibliographical references and index
Term
Indexterm - Okontrollerad
ISBN 9780822356448 9780822356561
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What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light?
Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.
Preface: Ten Points to Begin p. xi A Tear that Does Not Drop, But Folds p. 1 Crying Is Structured Like a Language p. 2 Tears Without Bodies p. 18 Film Theory's Absent Center p. 26 Emotion, Feeling, Excess, Affect p. 27 Affective Fallacies p. 31 Reading for Affect p. 36 Mise-nen-Scene: Formalism after Presence p. 41 Interval Solitude p. 47 The Illumination of Light p. 53 Visible Darkness: Optics According to Augustine p. 54 Light, the Peculiar p. 56 Ongoing Dialogues with Loss p. 65 Grief Without Sublation p. 71 Grief and the Undialectical Image p. 76 Ma mort indialectique p. 77 Extra Missing Things p. 84 Acedia and the Pose p. 89 Where Being Would Have Been p. 93 A Still and Heavy Pain p. 98 Aesthetic Exclusions and the Worse than the Worst p. 115 Philosophy of the Retch p. 117 Aesthetics' Tastes p. 123 What Is Worse than the Worst p. 128 Objects, Abjects, Close-ups p. 133 Laura Bern's Vomit p. 141 Wild Hearts, Sick Figures p. 145 Disgust and the Cinema of Haut Gout p. 152 Gastronomy According to Peter Greenaway p. 155 Dissecting Qualities p. 159 Rot's Progress p. 164 On Having an Excellent Palate p. 170 Intermittency, Embarrassment, Dismay p. 1 These Things That Creep, Stir, and Squirm p. 185 Heksebrev p. 187 Interruption or the Interval p. 191 Esmoi, Esmais, Émoi p. 201 Treading Red Blue Water p. 208 Nothing/Will Have Taken Place/ but the Place: Open Water Anxiety p. 210 Something or Nothing p. 212 A Shark Is a Form of Time p. 216 A Shark Punctures a Line p. 222 Death Is a Turn of the Color Wheel p. 231 Nothing But the Place p. 235 To Begin Again: The Ingression of Joyful Forms p. 242 Affirmable Modes of Recurrence p. 247 (Shall we) Let x = p. 252 Putting One's Faith in Form p. 258 Acknowledgments p. 263 Notes p. 267 Bibliography p. 315 Index p. 333