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The Forms of the Affects
About this book
What is the relationship between a cinematic grid of color and that most visceral of negative affects, disgust? How might anxiety be a matter of an interrupted horizontal line, or grief a figure of blazing light?
Offering a bold corrective to the emphasis on embodiment and experience in recent affect theory, Eugenie Brinkema develops a novel mode of criticism that locates the forms of particular affects within the specific details of cinematic and textual construction. Through close readings of works by Roland Barthes, Hollis Frampton, Sigmund Freud, Peter Greenaway, Michael Haneke, Alfred Hitchcock, Søren Kierkegaard, and David Lynch, Brinkema shows that deep attention to form, structure, and aesthetics enables a fundamental rethinking of the study of sensation. In the process, she delves into concepts as diverse as putrescence in French gastronomy, the role of the tear in philosophies of emotion, Nietzschean joy as a wild aesthetic of repetition, and the psychoanalytic theory of embarrassment. Above all, this provocative work is a call to harness the vitality of the affective turn for a renewed exploration of the possibilities of cinematic form.
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Yes, you can access The Forms of the Affects by Eugenie Brinkema in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Literary Criticism Theory. We have over one million books available in our catalogue for you to explore.
Information
a
tear
that
does
not
drop,
but
folds
•
25
retain—and,
in
fact,
insist
on—the
role
of
bodies
in
thinking
affectivity
aſter
the
subject.
This
has
led
to
a
host
of
work
on
the
potentiality
of
a
visceral
aesthetics,
with
an
emphasis
on
new
modes
of
spectatorship,
and
that
is
a
very
different
take
on
affect
from
the
sense
in
which
I
will
employ
it.
Affect,
as
I
theorize
it
here,
has
fully
shed
the
subject,
but
my
argument
goes
a
step
further
and
also
loses
for
affects
the
body
and
bodies.
This
book
regards
any
individual
affect
as
a
self-folding
exteriority
that
manifests
in,
as,
and
with
textual
form.
Under
the
pressure
of
the
encounter
between
forms
and
affects,
each
tear
loses
every
body,
and
affect
loses
its
tight
bond
with
tears.
These
losses
entail,
however,
many
wild
recoveries.
Cold
white
tile
is
not
only
a
place
where
vitality
drains
away.
Table of contents
- Contents
- Preface: Ten Points to Begin
- Chapter One. A Tear That Does Not Drop, but Folds
- Chapter Two. Film Theory’s Absent Center
- Chapter Three. The Illumination of Light
- Chapter Four. Grief and the Undialectical Image
- Chapter Five. Aesthetic Exclusions and the Worse than the Worst
- Chapter Six. Disgust and the Cinema of Haut Goût
- Interval. Formalism and Affectivity
- Chapter Seven. Intermittency, Embarrassment, Dismay
- Chapter Eight. Nothing/Will Have Taken Place/But the Place: Open Water Anxiety
- Chapter Nine. To Begin Again: The Ingression of Joyful Forms
- Acknowledgments
- Notes
- Bibliography
- Index