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Full Description
The Toronto New Wave (TNW) comprises a group of avant-garde filmmakers working in Canada from the 1980s and into the new millennium whose innovative film works share significant affinities with anarchist themes and aesthetics. Several of the TNW filmmakers openly identify as anarchists and/or acknowledge a debt to anarchism in their production of highly apocalyptic narratives as part of their cinematic political projects. However, recognition of anarchism's progressive apocalyptic theoretical relevance has yet to be substantially taken up by scholarship in cinema analysis. This analysis introduces an anarchist-inflected analytical methodology to understand the apocalyptic-revelatory political work these films attempt to accomplish in the perceptual space between the filmic texts and both their auteurs and potential viewers, and to re-locate the TNW within cinema history as an ongoing phenomenon with new significance in an apocalyptic era of digital distribution.
Contents
Introduction: TNW and the anarchist-apocalypse
1 Cronenberg and the anarchist-apocalypse effect
2 The McKellar cohort - kissing this world goodbye
3 Mettler v. Cronenberg and the anarchist-apocalyptic critique of cybernetic technology- surveillance and subjectivity
4 Vincenzo Natali's anarchist-apocalypse and the critique of industrial technology- class-based incarceration
5 Anarchist-queering the apocalypse - Greyson, Fitzgerald, LaBruce
6 Anarchist-gendering the apocalypse - Rozema and Podeswa
7 The neo-TNW- zombies and the End of Time
Conclusion: Anarchist-apocalypse in the TNW and beyond
Appendix: Apocalyptic sentiments in the history of anarchist philosophy
References
Index
