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 tip of time that has so frequently been staged as spectacle in movies like 2012, The Day After Tomorrow, and The Terminator. through blockbusters that play with basic annihilation whereas additionally paying shut realization to motion pictures like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this e-book means that within the apocalyptic style, movie gnaws at its personal limit.

Apocalypse-cinema is, whilst and with an identical double blow, the top of the realm 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, marvelous 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 photographs 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 probability of cinema. And it bears witness to the truth that, whenever, in each movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.

In a Postface particularly written for the English version, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, declares 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 lower than critique, permitting purely the ashes it bears to be heard.

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The elements of the world—the hero and the facade with its windows cut out—are put together and match up with each other like brick and mortar. In short, it all links up. And this linkup is one of the constitutive characteristics of the being-world of the world. To analyze the worldliness of the world, Heidegger, in Being and Time, proposes that we start with the tool.  Yet there is never one sole tool: “There is,” writes Heidegger, “no such thing as a utensil” (Being and Time, 64, translation modified).

The end of the world is announced in the equivalence between the overproduction and the recession of images. “Fast forward” and “slow motion” come down to the same thing. Economy and an-economy, investment with expectations of returns and pure expenditure are undecided and indistinguishable here, just like speed and slowness. ” Thus— one example among so many of an indifferent interchangeability—the time remaining for seduction or cruising is voluntarily superimposed with that of the apocalypse when— concerning Laura Wilson (Thandie Newton), the president’s daughter—the Secretary of State at the White House, Carl Anheuser (Oliver Platt) tells Adrian, “Pretty girl, huh?

The elements of the world—the hero and the facade with its windows cut out—are put together and match up with each other like brick and mortar. In short, it all links up. And this linkup is one of the constitutive characteristics of the being-world of the world. To analyze the worldliness of the world, Heidegger, in Being and Time, proposes that we start with the tool.  Yet there is never one sole tool: “There is,” writes Heidegger, “no such thing as a utensil” (Being and Time, 64, translation modified).

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