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 motion pictures like 2012, The Day After Tomorrow, and The Terminator. through taking a look at blockbusters that play with common annihilation whereas additionally paying shut awareness to movies like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this booklet 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 realm and the top 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 economic climate. The innumerable countdowns, impressive radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its economic system of time and its rewinds, its overexposed photographs 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, each time, in every movie, what Jean-Luc Nancy referred to 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, pronounces 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 put below critique, permitting basically the ashes it bears to be heard.
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Additional resources for Apocalypse-Cinema: 2012 and Other Ends of the World
There are screams, panic, and objections from a skeptical Republican. The scientists of the aforementioned community come in; they’ve finished the tests. ” Silence. The music—like that of a cataclysmic epic—grows more and more tense. “But that’s . . ” So it happens faster than was predicted (which is in fact the very formula of the disaster movie). Today, now, and right away, but starting from tomorrow, counting backwards on the basis of what we see coming: To state this distended regime of apocalyptic arrivance, the South Park episode alludes to another of Roland Emmerich’s superproductions, The Day After Tomorrow, 2004, placed under the sign of a general freeze-over during a new glacial era.
Just as in many animated cartoons, here, too, in this cinema for which in extremis is the raison d’être, extreme speed tends to merge with extreme slowness. One character, chased by another or fleeing some danger, gets up on his feet (or his paws or any other means) and runs, only to find himself over some abyss or precipice: We know that scene, which is seen in so many animated films, where some poor guy runs in place in the air, suspended in his continued movement before he ends up falling; we know this typical situation very well, and we can never decide if the animal keeps himself suspended through the hypervelocity of his running or if he is so slow in becoming aware of the new state of things that he has to wait to fall.
A fragile thread that oscillates like a remainder of movement when everything else is frozen. But the passengers have survived. We end up seeing them emerge painfully from the ruins. Hud retraces his footsteps to pick up the camera he forgot and finds himself face to face with the monster. A mortal face-off whose detail is beyond CLOV ER FIELD, O R TH E H O LO C AUSE O F TH E DATE (( 19 us—the shooting is too chaotic—but that concludes with the fall first of the camera and then of Hud’s inert body into the grass.
Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy, Will Bishop, Samuel Weber