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The New Cinematic Weird argues that weird fiction is rising also in
audiovisual culture. Presenting several detailed analyses of weird
cinematic works, the book shows how the new cinematic weird is best
understood as atmospheric worldings - affective intensities that
suffuse the experience of the cinematic weird. The weird exists as
an experiential field, an inflation of the world. These worldings
disclose a variety of experiences. The book engagingly shows how
creepy, unsettling, ominous, uneasy, and eerie atmospheres provide
a way into the weird experience. This book is important to anyone
interested in the audiovisual weird, cinematic atmospheres, how
audiovisual media produce worlds, and how weird fiction challenges
our conception of the way the world is.
The New Cinematic Weird argues that weird fiction is rising also in
audiovisual culture. Presenting several detailed analyses of weird
cinematic works, the book shows how the new cinematic weird is best
understood as atmospheric worldings - affective intensities that
suffuse the experience of the cinematic weird. The weird exists as
an experiential field, an inflation of the world. These worldings
disclose a variety of experiences. The book engagingly shows how
creepy, unsettling, ominous, uneasy, and eerie atmospheres provide
a way into the weird experience. This book is important to anyone
interested in the audiovisual weird, cinematic atmospheres, how
audiovisual media produce worlds, and how weird fiction challenges
our conception of the way the world is.
At a time when technological advances are transforming cultures and
supporting new automated military operations, action films engage
the senses and, in doing so, allow viewers to embody combat roles.
This book argues that through film the viewer adapts to an ecology
of fear, one that reflects global panic at the near-constant threat
of conflict and violence. Often overwhelming in its audiovisual
assault, action cinema attempts to overpower our bodies with its
own through force and intensity. In this book, Steen Ledet
Christiansen identifies five aspects central to how action films
produce such physical movements and responses through vectors,
droning, kinetics, telesomatics and volatility and in so doing
unveils new modes of perception that acclimatise us for warfare.
Drawing on theories from film-philosophy and a consideration of the
aesthetics and phenomenology of war, this is an innovative study of
the evolving action movie and its role in the targeted address of
battle. Chapters investigate new modes of cinematic experience
through in-depth case studies of Iron Man, Avatar and the Jason
Bourne trilogy, through to The Hurt Locker and Mad Max: Fury Road.
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