By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, even as and with an analogous double blow, the top of the realm and the tip of the movie. it's the consummation and the (self-)consumption of cinema, within the kind of an acinema that Lyotard evoked because the nihilistic horizon of filmic financial system. The innumerable countdowns, remarkable radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its financial system 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 hazard of cinema. And it bears witness to the truth that, whenever, in every movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.
In a Postface especially written for the English variation, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, publicizes 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 lower than critique, permitting purely the ashes it bears to be heard.
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Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy,Samuel Weber,Will Bishop