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. by way of blockbusters that play with common annihilation whereas additionally paying shut consciousness to movies 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, even as and with an identical double blow, the top of the area 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 economic system. The innumerable countdowns, astonishing 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 is not only one style between others: It performs with the very stipulations of danger of cinema. And it bears witness to the truth that, at any time when, in each 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, proclaims 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 put below critique, permitting simply the ashes it bears to be heard.
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Additional info for Apocalypse-Cinema: 2012 and Other Ends of the World
Speaking to the camera in the amusement park at Coney Island, Rob declares— he is already saying, he is again saying, in a time where the already and the again switch places with one another in a dizzying oscillation—that there is not much time left: rob: All right, we’re almost out of tape; we’ve got like three seconds; what do you want to say? One last thing for the camera. beth: I had a good day. Everything relies on the gap between these two endings, the one from May 23 and the one from April 27.
There is always something burlesque about blockbusters’ generalized pileup scenes. Every time, they recall Keaton’s cyclone, which brings the economy of images to its limit. Not only because shooting them involves ruinous production expenses but also because “pyrotechnics,” as Lyotard puts it, tends toward “the sterile consumption of energies in jouissance” (“Acinema,” 171): From within the most predictable mainstream, these fireworks of disintegration and atomization 2012, OR PYROTECHNICS (( 33 seem to point toward something beyond filmic pleasure, toward an an-economy of acinema.
M. on Saturday May 23. Approximately seven hours ago, something attacked the city. I don’t know what it is. If you found this tape, I mean: if you’re watching this right now, then you probably know more about it than I do. Rob then turns to Beth, and asks her to say something, too. ” And it’s over. Or rather: It’s over for the first time. Because the initial jump of the camera is repeated at the very end. In a spasm or shudder that we had already seen occur in the dark at the very beginning, the image freezes and trembles at the same time, as if seized by convulsions or cramps, before the recording of the day at Coney Island reappears.