By Peter Szendy,Samuel Weber,Will Bishop
Apocalypse-cinema is, while and with a similar double blow, the top of the realm and the tip 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, outstanding 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 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 chance of cinema. And it bears witness to the truth that, at any time when, in every movie, what Jean-Luc Nancy referred to as the cine-world is uncovered at the verge of disappearing.
In a Postface specifically written for the English variation, Szendy extends his argument right into a debate with speculative materialism. Apocalypse-cinema, he argues, proclaims 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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