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Full Description
Abject Pleasures in the Cinematic examines the cinematic strategies that elicit visceral pleasure tears, goosebumps, sexual arousal, laughter even in the face of content that is crass, politically problematic, or unethical. While there might be a progressive predisposition within our discipline, affect pledges no allegiance to any particular political inclination. Progressives, or progressive content, does not hold a monopoly on affect. The beautiful has no inherent bond to the good (i.e., morally good, or having cultural merit), rather it is an affective experience, and it might come to us in the most unlikely and unsavory places. Pornography, even with the most regressive content, wields the possibility to be sexually arousing even despite our own ethical objections. While well-intended academics routinely claim that watching people get hurt is not funny, and we might appreciate the gesture to cultivate our better angels, but such assertions do not necessarily align with our lived-experience.
Contents
AcknowledgementsPreface
Abject Pleasures in the Cinematic: A Taxonomy of Cinematic Strategies for Eliciting Pleasure
On the Beautiful
Neo-Giallo: "It's beautiful, it's beautiful, it's beautiful," the Affective Experience in Suspiria
Musicality: Poetic Ruptures in Spike Lee's 25th Hour, and Chris Cunningham's/Björk's Music Video "All Is Full of Love"
On Sexual Arousal
Pornography: Erotic Disavowal, Regressive Content, and the Chikan (Sub-)genre
Romance: The Handmaiden and Its Arousing Spectacles
On Laughter
Body Humor: Dick Pics in Cringe Comedy and the Carnivalesque Grotesque Body
Conclusion: The Limitation of Theories of Affect
Bibliography
Index
