LEADER 04681nam 2200769 450 001 9910797355503321 005 20230124193138.0 010 $a0-8232-6684-2 010 $a0-8232-6483-1 010 $a0-8232-6484-X 024 7 $a10.1515/9780823264834 035 $a(CKB)3710000000445694 035 $a(EBL)3430725 035 $a(SSID)ssj0001514779 035 $a(PQKBManifestationID)12475587 035 $a(PQKBTitleCode)TC0001514779 035 $a(PQKBWorkID)11480756 035 $a(PQKB)11197281 035 $a(StDuBDS)EDZ0001283558 035 $a(MiAaPQ)EBC3430725 035 $a(OCoLC)913610679 035 $a(MdBmJHUP)muse43483 035 $a(DE-B1597)554994 035 $a(DE-B1597)9780823264834 035 $a(Au-PeEL)EBL3430725 035 $a(CaPaEBR)ebr11076381 035 $a(CaONFJC)MIL818747 035 $a(OCoLC)930706483 035 $a(EXLCZ)993710000000445694 100 $a20150725h20152015 uy 1 101 0 $aeng 135 $aurnnu---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aApocalypse-cinema $e2012 and other ends of the world /$fPeter Szendy ; translated by Will Bishop 205 $aFirst edition. 210 1$aNew York :$cFordham University Press,$d2015. 210 4$dİ2015 215 $a1 online resource (181 p.) 300 $aIncludes index. 311 $a0-8232-6481-5 311 $a0-8232-6480-7 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tCONTENTS --$tForeword: One Sun Too Many --$tChapter 1 Melancholia, or The After-All --$tChapter 2 The Last Man on Earth, or Film as Countdown --$tChapter 3 Cloverfield, or The Holocaust of the Date --$tChapter 4 Terminator, or The Arche-Traveling Shot --$tChapter 5 2012, or Pyrotechnics --$tChapter 6 A.I., or The Freeze --$tChapter 7 Pause, for Inventory (the ?Apo?) --$tChapter 8 Watchmen, or The Layering of the Cineworld --$tChapter 9 Sunshine, or The Black-and-White Radiography --$tChapter 10 Blade Runner, or The Interworlds --$tChapter 11 Twelve Monkeys, or The Pipes of the Apocalypse --$tChapter 12 The Road, or The Language of a Drowned Era --$tChapter 13 The Blob, or The Bubble --$tPostface Il n?y a pas de hors-film, or Cinema and Its Cinders --$tNotes --$tIndex of Films 330 $aApocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an a cinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups. The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing. In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the ?ultratestimonial? structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard. 606 $aScience fiction films$xHistory and criticism 606 $aApocalypse in motion pictures 610 $aApocalypse. 610 $aCountdown. 610 $aSpeculative Realism. 610 $acineworld. 610 $adeconstruction. 610 $afilm. 610 $anihilism. 615 0$aScience fiction films$xHistory and criticism. 615 0$aApocalypse in motion pictures. 676 $a791.43615 700 $aSzendy$b Peter$0625456 702 $aBishop$b Will$f1867-1943, 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910797355503321 996 $aApocalypse-cinema$93814458 997 $aUNINA