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Deleuze and Horror Film

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The horror film analysed from a Deleuzian perspective. This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise-en-scène, editing and sound, are central to the viewer's visceral fear and arousal. Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of 'alter The horror film analysed from a Deleuzian perspective. This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise-en-scène, editing and sound, are central to the viewer's visceral fear and arousal. Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of 'altered consciousness' and the experience of viewing horror film an 'embodied event'. The book begins with a critical introduction to the key terms in Deleuzian philosophy and aesthetics. These include: subjectivity/becoming, the body without organs, molecularity, time/duration, affect, movement/rhythm, space, anomaly and schizoanalysis. These concepts are then applied to horror films. Themes such as insanity, sensory response to film, the subject/object, fractured time, the body and cinematography are explored in horror films such as Jacob's Ladder, Dr Jekyll and Mr Hyde, Psycho, Silence of the Lambs, The Fly, A Nightmare on Elm Street, Alien Resurrection, The Others, The Shining, Interview with the Vampire, Bram Stoker's Dracula and Nosferatu.


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The horror film analysed from a Deleuzian perspective. This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise-en-scène, editing and sound, are central to the viewer's visceral fear and arousal. Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of 'alter The horror film analysed from a Deleuzian perspective. This book argues that dominant psychoanalytic approaches to horror films neglect the aesthetics of horror. Yet cinematic devices such as mise-en-scène, editing and sound, are central to the viewer's visceral fear and arousal. Using Deleuze's work on art and film, Anna Powell argues that film viewing is a form of 'altered consciousness' and the experience of viewing horror film an 'embodied event'. The book begins with a critical introduction to the key terms in Deleuzian philosophy and aesthetics. These include: subjectivity/becoming, the body without organs, molecularity, time/duration, affect, movement/rhythm, space, anomaly and schizoanalysis. These concepts are then applied to horror films. Themes such as insanity, sensory response to film, the subject/object, fractured time, the body and cinematography are explored in horror films such as Jacob's Ladder, Dr Jekyll and Mr Hyde, Psycho, Silence of the Lambs, The Fly, A Nightmare on Elm Street, Alien Resurrection, The Others, The Shining, Interview with the Vampire, Bram Stoker's Dracula and Nosferatu.

43 review for Deleuze and Horror Film

  1. 5 out of 5

    Amanda Lemes

    vou revisitar esse livro quando eu tiver terminado de ler cinema 1 e cinema 2, porque, aqui, a autora fala mil vezes que vai explicar certas ideias-chave do deleuze e do bergson ao longo dos capítulos, mas as explicações me confundiram mais ainda. também não sei bem qual o público-alvo da obra, visto que, às vezes, a autora dá a entender que uma pessoa que ainda tá no feijão com arroz do deleuze vai conseguir acompanhar a leitura, no entanto, em outros momentos, parece que você já tem que ter um vou revisitar esse livro quando eu tiver terminado de ler cinema 1 e cinema 2, porque, aqui, a autora fala mil vezes que vai explicar certas ideias-chave do deleuze e do bergson ao longo dos capítulos, mas as explicações me confundiram mais ainda. também não sei bem qual o público-alvo da obra, visto que, às vezes, a autora dá a entender que uma pessoa que ainda tá no feijão com arroz do deleuze vai conseguir acompanhar a leitura, no entanto, em outros momentos, parece que você já tem que ter um certo repertório.

  2. 5 out of 5

    Orestis

  3. 4 out of 5

    James Waller

  4. 5 out of 5

    Danielle

  5. 5 out of 5

    Jack

  6. 5 out of 5

    Franz Biberkopf

  7. 5 out of 5

    Max Coombes

  8. 4 out of 5

    Angus Macdonald

  9. 4 out of 5

    Matthew Pridham

  10. 4 out of 5

    Johannes Melander

  11. 5 out of 5

    Gene

  12. 5 out of 5

    Dania

  13. 4 out of 5

    Caroline Langill

  14. 4 out of 5

    Lee Vincent

  15. 5 out of 5

    James

  16. 5 out of 5

    Jenna

  17. 5 out of 5

    Σεραφειμν

  18. 4 out of 5

    Ronald

  19. 4 out of 5

    Gabriel Duarte

  20. 5 out of 5

    Michael

  21. 5 out of 5

    Lucy

  22. 5 out of 5

    Remus Balint

  23. 4 out of 5

    Joanna

  24. 5 out of 5

    Dewey

  25. 4 out of 5

    Wendell Borges

  26. 5 out of 5

    Kate

  27. 5 out of 5

    Mark Connery

  28. 4 out of 5

    Bobby George

  29. 5 out of 5

    Franz Biberkopf

  30. 5 out of 5

    BookDB

  31. 4 out of 5

    Hypatia Library

  32. 5 out of 5

    Anna Chiaretta

  33. 5 out of 5

    Mae

  34. 5 out of 5

    Amy

  35. 5 out of 5

    Jadranka

  36. 4 out of 5

    Timothy

  37. 5 out of 5

    Sid

  38. 4 out of 5

    David

  39. 4 out of 5

    Alex Barbosa

  40. 5 out of 5

    Tanja Jurkovic

  41. 4 out of 5

    Jessica Bee goode

  42. 5 out of 5

    Adam Stein

  43. 5 out of 5

    Thinking Horror

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