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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.
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.
Eugenie Brinkema is Assistant Professor of Contemporary Literature and Media at the Massachusetts Institute of Technology.
1. A Tear That Does Not Drop, But Folds
2. Film Theory's Absent Center
Interval. Solitude
3. The Illumination of Light
4. Grief and the Undialectical Image
5. Aesthetic Exclusions and the Worse than the Worst
6. Disgust and the Cinema of >
Interlude. Formalism and Affectivity
7. Intermittency, Embarrassment, Dismay
8. Nothing/Will Have Taken Place/But the Place: Open Water Anxiety
9. To Begin Again: The Ingression of Joyful Forms
Acknowledgments
Notes
Bibliography
Index
| Erscheinungsjahr: | 2014 |
|---|---|
| Genre: | Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Fotografie |
| Medium: | Taschenbuch |
| ISBN-13: | 9780822356561 |
| ISBN-10: | 0822356562 |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Brinkema, Eugenie |
| Hersteller: | Duke University Press |
| Maße: | 229 x 152 x 21 mm |
| Von/Mit: | Eugenie Brinkema |
| Erscheinungsdatum: | 21.03.2014 |
| Gewicht: | 0,536 kg |
Eugenie Brinkema is Assistant Professor of Contemporary Literature and Media at the Massachusetts Institute of Technology.
1. A Tear That Does Not Drop, But Folds
2. Film Theory's Absent Center
Interval. Solitude
3. The Illumination of Light
4. Grief and the Undialectical Image
5. Aesthetic Exclusions and the Worse than the Worst
6. Disgust and the Cinema of >
Interlude. Formalism and Affectivity
7. Intermittency, Embarrassment, Dismay
8. Nothing/Will Have Taken Place/But the Place: Open Water Anxiety
9. To Begin Again: The Ingression of Joyful Forms
Acknowledgments
Notes
Bibliography
Index
| Erscheinungsjahr: | 2014 |
|---|---|
| Genre: | Kunst |
| Rubrik: | Kunst & Musik |
| Thema: | Fotografie |
| Medium: | Taschenbuch |
| ISBN-13: | 9780822356561 |
| ISBN-10: | 0822356562 |
| Sprache: | Englisch |
| Ausstattung / Beilage: | Paperback |
| Einband: | Kartoniert / Broschiert |
| Autor: | Brinkema, Eugenie |
| Hersteller: | Duke University Press |
| Maße: | 229 x 152 x 21 mm |
| Von/Mit: | Eugenie Brinkema |
| Erscheinungsdatum: | 21.03.2014 |
| Gewicht: | 0,536 kg |
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