Scott Loren
Title
Dr.
Last Name
Loren
First name
Scott
Email
scott.loren@unisg.ch
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Item type:Publication, Irritation of Life : The Subversive Melodrama of Michael Haneke, David Lynch and Lars von TrierIrritation of Life explores the political and emotive potential of contemporary auteur cinema. Viewing the work of celebrated directors Michael Haneke, David Lynch and Lars von Trier through the film-historical lenses of melodrama and the avantgarde, Loren and Metelmann illustrate how convention and deviance interact to establish an aesthetics of irritation. If one is willing to play the game of participatory viewership such an aesthetics initiates, one cannot but enter into a series of negotiations in which habitual viewing practices and epistemological assumptions about the visual are dislodged. With melodrama as what Linda Williams has termed a body genre, not only are novel forms of cognitive experience at stake in subversive melodrama's aesthetics of irritation, but also the invigoration of cinematic affect. Accordingly, the authors develop a strategy for interpreting filmic conventions and departure therefrom that integrates a phenomenological approach "through the senses" (Elsaesser/Hagener). Their densely illustrated readings of Haneke, Lynch and von Trier ultimately rehabilitate a question recurrent throughout the many discourses on melodrama and deviant aesthetics: what social impact might art forms like narrative film hope to achieve? This book suggests that subversive melodrama's political work is characterized by processes of empathetic unsettlement (LaCapra), encouraging new perceptual cartographies in and beyond the cinema, or novel ways of seeing being. Exploration into these uncharted territories constitutes not an Imitation but an Irritation of Life.Type:bookVolume:1. Auflage AprilIssue:43 - Some of the metrics are blocked by yourconsent settings
Item type:Publication, Posthumanist Panic Cinema : Defining a GenreWhat is posthumanist panic cinema? The term should indicate both cinema that depicts representations of the posthuman and threat to humanist philosophies and ideologies. Though the terms posthuman and posthumanism are rather close and have at times been conflated by some theorists, one would be hard pressed to legitimate the claim that posthuman cinema is more representative of posthumanist philosophies than it is of humanist ones, wherein lies the point: posthuman cinema generally depicts various forms of panic expressive of anxiety regarding the status of the LHS. Posthuman cinema has often taken a reactionary stance in opposition to philosophies of posthumanism. If, following popular usage, posthuman cinema consists primarily in stories of artificial intelligence, virtual realities, alien abduction or visitation, and cyborgian science fiction, then the filmic narratives of posthuman cinema tend to position themselves anxiously in relation to logics of posthumanism and nostalgically, even desperately, in relation to tenets of humanism. Posthuman popular cinema, one might say, is in a state of crisis. That is not to say it is in immediate danger of becoming financially unviable. To the contrary: though its concerns might be shifting, posthuman cinema continues to reverberate through multiplexes, across the screens of portable devices and along the corridors of collective imaginaries. With its capacity for metamorphosis and for mirroring desire and anxiety on the border between the known and the yet-to-be known, posthuman cinema is alive, but not well - at least not from a posthumanist perspective. If posthumanist theory attempts to map the philosophical territory that succeeds humanist thought, posthuman cinema has been astute to the turbulence accompanying such a shift.Type:book section - Some of the metrics are blocked by yourconsent settings
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