The Pulse in Cinema The Aesthetics of Horror.
The Pulse in Cinema acknowledges that the pulse is felt"" in the body.
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| Language: | English |
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Edinburgh :
Edinburgh University Press,
2021.
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| Subjects: |
MARC
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| 050 | 4 | |a PN1995.9.H6 | |
| 100 | 1 | |a Mee, Sharon Jane. | |
| 245 | 1 | 4 | |a The Pulse in Cinema |b The Aesthetics of Horror. |
| 260 | |a Edinburgh : |b Edinburgh University Press, |c 2021. | ||
| 300 | |a 1 online resource (233 p.) | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a computer |b c |2 rdamedia. | ||
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| 500 | |a Description based upon print version of record. | ||
| 505 | 0 | |a Intro -- List of Figures -- Acknowledgements -- Introduction -- Rosalind E. Krauss's Theory of the Pulse -- Rhythm and Pulse -- The Pulse: A Philosophical Enquiry -- Body Horror -- 1. The Rhythm of Life: The Pulse in the Image -- Rhythm and Pulse -- Rhythm in Experimental Cinema -- Protocinema: Étienne-Jules Marey -- The Pulse in Psychoanalysis: Sigmund Freud -- 2. The Rhythm of Life: The Pulse in the Spectator -- Surfaces of Inscription and Passages of Intensity -- Movement, and an Opening -- The Logic of Sensation as a Diastolic-Systolic Opening. | |
| 505 | 8 | |a The Aesthetics of the Open: Georges Franju's Le Sang des bêtes/Blood of the Beasts (1949) -- A Libidinal Economy, and an Opening -- Candour as the Body's Openness to an Outside -- 3. Aisthesis and Dispositif: The Pulse and Its Analogues -- Extracting the Fear that Tingles the Spine: The Hype, the Buzz of the Gimmick, and the Bottom Line -- The Execution: The Tingler (1959) -- Aisthesis and Prescribed Lines -- Prescription and the Aesthetics of Blood Spilled -- The Pulse 'Exposed' -- Dispositif: Lines of Fright. | |
| 505 | 8 | |a Figural Analogues or 'a Metonymy Without End': The Heart that Throbs, the Spine that Tingles, the Mouth that Screams. Do you have the Guts? -- 4. Automutilation and Metonymy: The Economy of the Pulse -- General Economy as Energetic Expenditure -- Two General Economies of Communication and Communion -- Automutilation and George A. Romero's Dawn of the Dead (1978) -- An Operation in the Morgue: Lucio Fulci's L'aldilà/The Beyond (1981) -- The Sovereign Operation as Affective Experience -- The Pulse as a Sovereign Operation in Horror Cinema. | |
| 505 | 8 | |a 5. Blood and Convulsive Affect: Vectors of the Pulse as Sovereign Operations -- Andrzej Żuławski's Possession (1981) -- Possession and Dispossession -- Body Horror and Convulsive Affect -- The Copula and the Copulation of Bodies: The Convulsions of Language and Self, Even (Fucking Language) -- The Movement-Image and Vectors of Sensation -- The Machinic and the Non-Machinic -- The Vector and Communication -- The Magnitude and Direction of Vectors that Result in Possession and Dispossession -- Material Vectors and their (Non)sense -- Bibliography -- Filmography -- Index. | |
| 520 | |a The Pulse in Cinema acknowledges that the pulse is felt"" in the body. | ||
| 650 | 0 | |a Horror films |x History and criticism. | |
| 650 | 0 | |a Horror films |x Physiological aspects. | |
| 650 | 7 | |a Horror films. |2 fast |0 (OCoLC)fst00960370. | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast |0 (OCoLC)fst01411635. | |
| 776 | 0 | 8 | |i Print version: |a Mee, Sharon Jane |t The Pulse in Cinema : The Aesthetics of Horror |d Edinburgh : Edinburgh University Press,c2021 |z 9781474475846. |
| 856 | 4 | 0 | |u http://ebookcentral.proquest.com/lib/ucb/detail.action?docID=6425056 |z Full Text (via ProQuest) |
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