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.
0 有用 满月様 2020-10-19 04:00:54
把Jameson的cognitive mapping和affact theory组装了起来
0 有用 思无邪斋 2018-11-12 09:23:12
只看了intro和其中有关Boarding gate两章。写的挺好。
0 有用 墓岛GRAVELAND 2021-11-27 09:56:02
Post- Cinematic Affect来自于Massumi的情动理论,松散形容视听控制社会语境之下的作品,并试图超越D.N.罗德维克的悲观主义 建构为一种Noys式的加速主义美学。但Shaviro对于几部影片的个案分析基本上是詹姆逊“认知图绘”以及德勒兹/加塔利控制社会的思路,前两章关于《企业食人魔》的无器官身体+非洲未来主义,以及阿萨亚斯的《登机门》如何展现了一种资本谵妄流动下的美学很有启... Post- Cinematic Affect来自于Massumi的情动理论,松散形容视听控制社会语境之下的作品,并试图超越D.N.罗德维克的悲观主义 建构为一种Noys式的加速主义美学。但Shaviro对于几部影片的个案分析基本上是詹姆逊“认知图绘”以及德勒兹/加塔利控制社会的思路,前两章关于《企业食人魔》的无器官身体+非洲未来主义,以及阿萨亚斯的《登机门》如何展现了一种资本谵妄流动下的美学很有启发,后两篇关于《南方传奇》的政治和Gamer的拟游戏性论述略显平庸。 (展开)
0 有用 王朵莱 2021-02-20 22:49:54
affect解释的跟form of affect比要没那么哲学一点,反正什么往labour上解释就要更容易但是贵在写的清楚 (而且Eu这种直接从柏拉图跳康德再跳法国后现代也蛮cherry picking不是吗),喜欢最后的accelerationism, 有一种西西弗斯双手一摊表示“这块石头我不推了,再见”的虚无
0 有用 发芽土豆 2018-09-06 06:42:22
别说话 吻我