“fascist affect.” Fascist Art Fascism is a political ideology with a constellation of associated social and ethical commitments ( Hayes 1973 ; Payne 1980 ). This constellation of commitments has existed since the rise of fascism in Italy in 1922, and
Grace Helbig’s Affective Aesthetics
becoming a girl. Furthermore, I use Helbig’s work as an illustrative case study to demonstrate the capacity of affect theory to make a much-needed intervention in current postfeminist debates. Specifically, I argue that the work of cultural theorist Lauren
The Fleshy Horror of the Unknowable Other in Spring and Honeymoon
two-minute sequence of a newlywed husband pulling a gooey alien worm out of his mysteriously amnesia-stricken wife’s vagina. Although the scene eschews any clear nudity or graphic insertion/penetration, the affective intention of the scene is clear and
Affective Continuities across Muslim and Christian Settings in Berlin
Omar Kasmani and Dominik Mattes
How can diverse religious groups, otherwise distinct, be brought into a meaningful relation with each another? What methodological possibilities emerge or foreclose when two researchers work with affect as a common framework in different prayer
Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg
. Expanding prior behavioral research ( Lotman 2016 ), we turned to facial electromyography to study whether high-contrast lighting would amplify empathic mimicry of emotional expressions displayed in film-like clips. From Affective Empathy to Cinematic
Ethical Experience, Trauma, and History
One way that we can understand the ethical significance of affective engagement with films is through the concept of empathy. By “feeling with” characters on-screen, viewers can understand more comprehensively characters’ circumstances and their
Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film
is not an emotion in its own right, it serves as a form of affective mapping, just as emotions furnish us with a map of values, valences, harms, and benefits ( Smith 2017: 179 ). Smith defines empathy as “a term which is used to refer to a variety of
Bodies, Girlhood and Popular Culture
Kristina Gottschall, Susanne Gannon, Jo Lampert, and Kelli McGraw
Using a collective biography method informed by a Deleuzian theoretical approach (Davies and Gannon 2009, 2012), this article analyses embodied memories of girlhood becomings through affective engagements with resonating images in media and popular culture. In this approach to analysis we move beyond the impasse in some feminist cultural studies where studies of popular culture have been understood through theories of representation and reception that retain a sense of discrete subjectivity and linear effects. In these approaches, analysis focuses respectively on decoding and deciphering images in terms of their normative and ideological baggage, and, particularly with moving images, on psychological readings. Understanding bodies and popular culture through Deleuzian notions of “becoming“ and “assemblage“ opens possibilities for feminist researchers to consider the ways in which bodies are not separate from images but are, rather, becomings that are known, felt, materialized and mobilized with/through images (Coleman 2008a, 2008b, 2008c, 2009, 2011; Ringrose and Coleman 2013). We tease out the implications of this new approach to media affects through three memories of girls' engagements with media images, reconceived as moments of embodied being within affective flows of popular culture that might momentarily extend upon ways of being and doing girlhood.
Affective States—Entanglements, Suspensions, Suspicions
Mateusz Laszczkowski and Madeleine Reeves
The aim of this special issue is to bring a critical discussion of affect into debate with the anthropology of the state as a way of working toward a more coherent, ethnographically grounded exploration of affect in political life. We consider how the state becomes a 'social subject' in daily life, attending both to the subjective experience of state power and to the affective intensities through which the state is reproduced in the everyday. We argue that the state should be understood not as a 'fiction' to be deconstructed, but as constituted and sustained relationally through the claims, avoidances, and appeals that are made toward it and the emotional registers that these invoke. This article situates these arguments theoretically and introduces the subsequent ethnographic essays.
Most films, most of the time, are affectively unified. What I call “synesthetic affects” are orchestrated in an attempt to provide a holistic affective experience congruent with the film's unfolding narrative and thematic concerns. Yet Terrence Malick's The Thin Red Line elicits contradictory or incongruent affects, such incongruence neither being justified by genre conventions, “excess,” irony, nor stumbled upon through incompetence. The Thin Red Line elicits incongruent emotions for the purposes of generating an experience of rumination and wonder. The study of such incongruent emotions, still in its infancy, raises important methodological issues about the study of mixed emotions and the conventions for mixing affects in the cinema.