By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, whilst and with an analogous double blow, the tip of the area and the top of the movie. it's the consummation and the (self-)consumption of cinema, within the type of an acinema that Lyotard evoked because the nihilistic horizon of filmic economic climate. The innumerable countdowns, wonderful radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its economic climate of time and its rewinds, its overexposed pictures and fades to white, its freeze-frames and electronic touch-ups.
The apocalyptic style is not only one style between others: It performs with the very stipulations of hazard of cinema. And it bears witness to the truth that, whenever, in every movie, what Jean-Luc Nancy referred to as the cine-world is uncovered at the verge of disappearing.
In a Postface particularly written for the English variation, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, declares itself as cinders that query the “ultratestimonial” constitution of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic constitution that speculative materialists have positioned less than critique, permitting in basic terms the ashes it bears to be heard.
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Extra resources for Apocalypse-Cinema: 2012 and Other Ends of the World
Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy,Samuel Weber,Will Bishop