Post Cinematic Affect
Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.
What people are saying - Write a review
action actually aesthetic Afrofuturism Afrofuturist Argento Assayas avatars Bay’s Bazin Boarding Gate Bordwell Boxer camera capital capitalist Castle celebrity character Chion cinema Claire Perkins cognitive continuity control society Corporate Cannibal cultural Deleuze and Guattari Deleuze calls Deleuze’s Demonlover diegesis Donnie Darko Dwayne Johnson economic editing electronic emotion Endnotes entirely Eshun everything film film’s filmmaking flows future Gamer gamespace global Grace Jones Hardt and Negri Hollywood human images and sounds Jameson Justin Timberlake Kable Kable’s Kelly’s logic Madonna Marx Massumi McLuhan Michael Bay Minnesota Press mode modulation montage movie multiple music video narrative neoliberal Neveldine/Taylor Olivier Assayas ontology performance persona play Post-Cinematic Affect postmodern precisely production protagonist radical real subsumption regime Rodowick Sandra Sarah Michelle Gellar science fiction screen sense sequence shot Slayer social song sort Southland Southland Tales space subjective television Timberlake time-image Trans transformations University Press virtual visual