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On Shock Therapy

Modernist Aesthetics and American Underground Film

William Solomon

charged, libidinal space of ceaseless change induces in the viewer a euphoric sense of absolute groundlessness. Encouraged to enter a decentered arena of attractions, a multi-vectored zone of constantly fluctuating formlessness, what we enter into is a

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Michele Barker

of total division, absolute visibility. There is never complete perception of the imperceptible. Instead, to feel imperceptibility we require a new approach to the creation of images that are both sustained by and create movement. While Bergson

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Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

that our sense of timing is relative rather than absolute. A not particularly fast passage can feel quite quick when juxtaposed with a slower one, so a filmmaker who wants to arrive at a rapid climax should start a scene with long takes, limited

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Other Sides

Loving and Grieving with Heart of a Dog and Merleau-Ponty's Depth

Saige Walton

). Likening depth to the opening of a window (albeit not the window model of art), depth is understood in resolutely positive terms—as an opening onto the “absolute positivity of Being” (2004, 304). 11 Discussing the Russian director Andrei Tarkovsky

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Modernist Embodiment

Sisyphean Landscape Allegory in Cinema

David Melbye

psychologically conflicted in their existential disposition than as single-minded of purpose. For the Spanish conquistador Aguirre (Klaus Kinski), his obsession with absolute dominance over Central and South American regions and their peoples, even to the point of

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Beyond the Individual Body

Spinoza's Radical Enactivism and You Were Never Really Here

Francesco Sticchi

characters. The movie's general experiential dimension, however, deconstructs and deviates from the norms of the genre, and presents an interactive challenge that is mainly based on the absolute impossibility of engaging with a coherent, reliable

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Jason Dean and Geoffrey Raynor

encounters an absolute dichotomy between the light and dark side of the force, with the Jedi and Sith representing pure good and evil. There is no space in between the two sides of the split, nor can there be any compromise or integration of the two. Once an

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Héctor J. Pérez

medium-specific in an absolute sense. After all, there are films of long duration with rich plot structures and episodic elements. Furthermore, the plot twist in cinema does share many elements in common with its counterpart in television: both are

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Steven Eastwood

without Hegelian proportions, without image, without limits—and gives this assemblage its absolute potential: the movement and flourishing of anti-production. The BwO is a multi-sensory, multi-dimensional desiring machine, no longer distorted by operations

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Queer Sinofuturism

The Aberrant Movements and Posthumanist Mutations of Body, Identity, and Matter in Lu Yang's Uterus Man

Gabriel Remy-Handfield

confirms the absolute value of reproductive futurism” (2004: 3). On the other hand, queer subjects are then associated with the death drive for Edelman: “The death drive names what the queer, in the order of the social , is called forth to figure: the