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Abject Pleasures in the Cinematic examines the cinematic strategies
that elicit visceral pleasure--tears, goosebumps, sexual arousal,
laughter--even in the face of content that is crass, politically
problematic, or unethical. While there might be a progressive
predisposition within our discipline, affect pledges no allegiance
to any particular political inclination. Progressives, or
progressive content, does not hold a monopoly on affect. The
beautiful has no inherent bond to the good (i.e., morally good, or
having cultural merit), rather it is an affective experience, and
it might come to us in the most unlikely and unsavory places.
Pornography, even with the most regressive content, wields the
possibility to be sexually arousing even despite our own ethical
objections. While well-intended academics routinely claim that
watching people get hurt is not funny, and we might appreciate the
gesture to cultivate our better angels, but such assertions do not
necessarily align with our lived-experience.
This book explores the stupid as it manifests in media-the cinema,
television and streamed content, and videogames. The stupid is
theorized not as a pejorative term but to address media that
"fails" to conform to established narrative conventions, often
surfacing at evolutionary moments. The Transformers franchise is
often dismissed as being stupid because its stylistic vernacular
privileges kinetic qualities over conventional narration.
Similarly, the stupid is often present in genre fails like mother!,
or in instances of narrative dissonance-joyously in Adventure Time;
more controversially in Gone Home- where a story "feels off" It
also manifests in "ludonarrative dissonance" when gameplay and
narrative seemingly run counter to one another in videogames like
Undertale and Bioshock. This book is addressed to those interested
in media that is quirky, spectacle-driven, or generally hard to
place-stupid!
This book explores the stupid as it manifests in media-the cinema,
television and streamed content, and videogames. The stupid is
theorized not as a pejorative term but to address media that
"fails" to conform to established narrative conventions, often
surfacing at evolutionary moments. The Transformers franchise is
often dismissed as being stupid because its stylistic vernacular
privileges kinetic qualities over conventional narration.
Similarly, the stupid is often present in genre fails like mother!,
or in instances of narrative dissonance-joyously in Adventure Time;
more controversially in Gone Home- where a story "feels off" It
also manifests in "ludonarrative dissonance" when gameplay and
narrative seemingly run counter to one another in videogames like
Undertale and Bioshock. This book is addressed to those interested
in media that is quirky, spectacle-driven, or generally hard to
place-stupid!
This is a sweeping survey of how global filmmakers have treated the
subject of the Holocaust. When representing the Holocaust, the
slightest hint of narrative embellishment strikes contemporary
audiences as somehow a violation against those who suffered under
the Nazis. This anxiety is, at least in part, rooted in Theodor
Adorno's dictum that 'To write poetry after Auschwitz is barbaric'.
And despite the fact that he later reversed his position, the
conservative opposition to all 'artistic' representations of the
Holocaust remains powerful, leading to the insistent demand that it
be represented, as it really was. And yet, whether it's the girl in
the red dress or a German soldier belting out Bach on a piano
during the purge of the ghetto in "Schindler's List", or the use of
tracking shots in the documentaries "Shoah" and "Night and Fog",
all genres invent or otherwise embellish the narrative to locate
meaning in an event that we commonly refer to as 'unimaginable'.
This wide-ranging book surveys and discusses the ways in which the
Holocaust has been represented in cinema, covering a deep
cross-section of both national cinemas and genres.
Extreme Cinema examines the highly stylized treatment of sex and
violence in post-millennial transnational cinema, where the
governing convention is not the narrative but the spectacle. Using
profound experiments in form and composition, including jarring
editing, extreme close-ups, visual disorientation and sounds that
straddle the boundary between non-diegetic and diegetic registers,
this mode of cinema dwells instead on the exhibition of intense
violence and an acute intimacy with the sexual body. Interrogating
works such as Wetlands and A Serbian Film, as well as the
sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and
Jonathan L. Knapp demonstrate the way content and form combine in
extreme cinema to affectively manipulate the viewing body.
This is a sweeping survey of how global filmmakers have treated the
subject of the Holocaust. When representing the Holocaust, the
slightest hint of narrative embellishment strikes contemporary
audiences as somehow a violation against those who suffered under
the Nazis. This anxiety is, at least in part, rooted in Theodor
Adorno's dictum that 'To write poetry after Auschwitz is barbaric'.
And despite the fact that he later reversed his position, the
conservative opposition to all 'artistic' representations of the
Holocaust remains powerful, leading to the insistent demand that it
be represented, as it really was. And yet, whether it's the girl in
the red dress or a German soldier belting out Bach on a piano
during the purge of the ghetto in "Schindler's List", or the use of
tracking shots in the documentaries "Shoah" and "Night and Fog",
all genres invent or otherwise embellish the narrative to locate
meaning in an event that we commonly refer to as 'unimaginable'.
This wide-ranging book surveys and discusses the ways in which the
Holocaust has been represented in cinema, covering a deep
cross-section of both national cinemas and genres.
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