By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, whilst 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 type of an acinema that Lyotard evoked because the nihilistic horizon of filmic financial system. The innumerable countdowns, fantastic radiations, freeze-overs, and seismic cracks and crevices are yet different names and pretexts for staging movie itself, with its economic climate of time and its rewinds, its overexposed photos 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 danger of cinema. And it bears witness to the truth that, at any time when, in every movie, what Jean-Luc Nancy known as the cine-world is uncovered at the verge of disappearing.
In a Postface specifically written for the English version, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, broadcasts 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 positioned lower than critique, permitting simply the ashes it bears to be heard.
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Extra resources for Apocalypse-Cinema: 2012 and Other Ends of the World
Apocalypse-Cinema: 2012 and Other Ends of the World by Peter Szendy,Samuel Weber,Will Bishop