By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, while and with an identical double blow, the tip of the realm and the top of the movie. it's the consummation and the (self-)consumption of cinema, within the kind of an acinema that Lyotard evoked because the nihilistic horizon of filmic economic climate. The innumerable countdowns, incredible 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 threat of cinema. And it bears witness to the truth that, each time, in each movie, what Jean-Luc Nancy referred to 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, pronounces 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 less than critique, permitting purely the ashes it bears to be heard.
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Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy,Samuel Weber,Will Bishop