The Emotional Life of Postmodern Film: Affect Theory's Other: Routledge Research in Cultural and Media Studies
Autor Pansy Duncanen Limba Engleză Hardback – 3 dec 2015
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Specificații
ISBN-13: 9781138955066
ISBN-10: 113895506X
Pagini: 254
Ilustrații: 14 black & white illustrations, 14 black & white halftones
Dimensiuni: 152 x 229 x 19 mm
Greutate: 0.48 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Research in Cultural and Media Studies
Locul publicării:Oxford, United Kingdom
ISBN-10: 113895506X
Pagini: 254
Ilustrații: 14 black & white illustrations, 14 black & white halftones
Dimensiuni: 152 x 229 x 19 mm
Greutate: 0.48 kg
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria Routledge Research in Cultural and Media Studies
Locul publicării:Oxford, United Kingdom
Public țintă
Postgraduate and UndergraduateCuprins
Introduction: Postmodernism and Emotion 1. Euphoria, Ecstasy, Sublimity: The Emotional Life of Postmodern Theory 2. Fascination: Between the Rough and the Glossy 3. Fear: Dead Subjects and Living Dolls 4. Bewilderment: The Ravaged Face of Postmodern Theory and Aesthetics 5. Boredom: Avant-Garde and Trash 6. Knowingness: Feeling Theory and its Other Restlessness: A Coda
Notă biografică
Pansy Duncan is Lecturer in the School of English and Media Studies at Massey University, Auckland, New Zealand, where she writes on media affect and aesthetics. Her articles have been published in a range of venues, including PMLA, Cultural Critique, Textual Practice, Screen, and Film Quarterly.
Descriere
Across a series of radical re-reappraisals of canonical postmodern texts, primarily films, from Fredric Jameson’s Postmodernism to David Cronenberg’s Crash and Harmony Korine’s Gummo, Duncan shows that the same postmodern archive that has proven resistant to strongly subject-based and object-oriented emotions, like anger and sadness, proves all too congenial to the idiosyncratic, borderline emotions, from knowingness, fascination and bewilderment to boredom and euphoria, that the book takes as its critical objects.