By Peter Szendy, Will Bishop, Samuel Weber
Apocalypse-cinema is not just the tip of time that has so frequently been staged as spectacle in motion pictures like 2012, The Day After Tomorrow, and The Terminator. by means of blockbusters that play with basic annihilation whereas additionally paying shut cognizance to motion pictures like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this booklet means that within the apocalyptic style, movie gnaws at its personal limit.
Apocalypse-cinema is, whilst and with an analogous double blow, the tip of the realm and the top of the film. 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 system. The innumerable countdowns, remarkable 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 pictures 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 chance of cinema. And it bears witness to the truth that, each time, in every 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 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 positioned below critique, permitting basically the ashes it bears to be heard.
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Extra info for Apocalypse-Cinema: 2012 and Other Ends of the World
Hud retraces his footsteps to pick up the camera he forgot and finds himself face to face with the monster. A mortal face-off whose detail is beyond CLOV ER FIELD, O R TH E H O LO C AUSE O F TH E DATE (( 19 us—the shooting is too chaotic—but that concludes with the fall first of the camera and then of Hud’s inert body into the grass. In front of the dead man’s bloody face, in front of his closed eyes, the lens constantly performs an automatic focus, as if it were moved by a spasmodic or reflex motion, like a body life has left but in which certain organic functions have not yet entirely been extinguished.
And when the bedding also flies away in a gust of wind, Keaton stands up, shaken and bewildered by all this fury: He rubs his neck, shakes his head, and seems to take his time while the facade gains speed in its inexorable fall. But as it falls over him, at the last second, he escapes what seemed certain death by squashing: He was standing where the open window was placed. But if I recall it here, it is instead to underline what it presents as the fitting or mounting par excellence. ” The elements of the world—the hero and the facade with its windows cut out—are put together and match up with each other like brick and mortar.
For a brief interlude the fugitives’ pickup takes over and lays waste TER MINATOR, O R TH E ARCH ETR AVELING SH OT (( 27 to the lawns of the houses along the road, and then we find Schwarzie hanging on to the crane that, in the midst of the crash of broken glass and dented sheets of metal, sweeps up shipping crates, entire offices, pieces of warehouses, or bits of facades. What an expenditure! But in the middle of all the jumble and rubble, at the center of this general rockslide that comes close to threatening to bury sight itself under the ruins, we see something like a fantastic apparition emerge: All of a sudden, the crane seems to be a huge jib crane, like the ones used for shooting a film; all of a sudden, we watch it as it seems to be taken away along the rails of a frantic traveling shot, in a crazy recording, as if it had gone mad wanting to capture everything, swallowing up all the world’s props, all the Earth’s decors, to feed the insatiable image that keeps asking for more.