Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy, Will Bishop, Samuel Weber

By Peter Szendy, Will Bishop, Samuel Weber

Apocalypse-cinema isn't just the top of time that has so usually been staged as spectacle in movies like 2012, The Day After Tomorrow, and The Terminator. via blockbusters that play with normal annihilation whereas additionally paying shut recognition to motion pictures like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this publication means that within the apocalyptic style, movie gnaws at its personal limit.

Apocalypse-cinema is, whilst and with a similar double blow, the top of the area and the tip of the film. 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 financial system. The innumerable countdowns, astonishing 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 photos and fades to white, its freeze-frames and electronic touch-ups.

The apocalyptic style isn't just one style between others: It performs with the very stipulations of probability of cinema. And it bears witness to the truth that, at any time when, in every movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.

In a Postface specifically written for the English version, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, proclaims itself as cinders that question 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 simple terms the ashes it bears to be heard.

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Extra resources for Apocalypse-Cinema: 2012 and Other Ends of the World

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In these three ways it has of brushing up against appearance, the tool tends to refer to itself. ’s disconnected electrical wire that seems to lead to nothing other than pure metonymic conduction: It is no longer a tie or a succession between two things; it stretches itself as the between itself, as such. Yet the logic of ustensility concerns not only the construction set of tools in the usual sense, from the drill to the truck crane. For Heidegger, “Signs are themselves initially utensils whose specific character as utensils consists of indicating [Zeigen]” (Being and Time, 72, translation modified).

It is what reduces it to ashes, as metonymy, as a part that is taken for the whole that has been settled into it through testament. For the date is as if destined to be lost: Either it remains faithful to the singularity of that of which it is the memory, and thus erases itself by becoming indecipherable, fading into the unique time it will have been; or else it returns and allows itself to be recounted, but in so doing it damages and ruins the uniqueness of what it marked. The unique date, condemned to be repeated and thus to annul itself as such in order to be a date—this is the drama that takes place in Cloverfield.

The general freezing threatens to reach even the film reel itself. The film itself would thus tend to become a tableau vivant, a mere painting, barely alive. It lasts for about two minutes. , The Day After Tomorrow, 2004 image as such, the suspense of the cinematic that runs the risk of freezing by coagulating on screen. The kinetic paradox of a blockbuster movie that secretly seems to want to tend toward being integrally numbed can be found elsewhere in other stagings of the end of the world. ” The Earth, we learn, is in effect “frozen by a solar winter,” whose effects will only be seen at the very end, when the atomic bomb capable of starting the helio-dynamic machinery back up again is successfully launched: On our white planet covered with a layer of snow, the daylight star will finally shine with a light worthy of the name.

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