## [[Steven Shaviro]] (2010). *Post-Cinematic Affect*. Winchester: Zero Books. > [!INFO] > Type:: [[&]] > Title:: Post-Cinematic Affect > Author(s): [[Steven Shaviro]] > Year:: 2010 > Tags:: > DOI:: > Citekey:: shaviro_post-cinematic_2010 > ZoteroURI:: [Open in Zotero: Post-Cinematic Affect](zotero://select/items/@shaviro_post-cinematic_2010) > ReviewedDate:: [[2022-09-20]] ## Citation ```latex [@shaviro_post-cinematic_2010] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@shaviro_post-cinematic_2010]] and -"Plans" and -"resources" ``` ## Summary - Reflection of three films and a music video - Olivier Assayas’ *Boarding Gate* - Richard Kelly’s *Southland Tales* - Brian Taylor’s film *Gamer* - 이 글은 주로 [[post-cinematic]]의 환경 안에서 영화 그리는 makes visible Invisible capitalism에 대하여 논하고 있다. 그래서 주로 나오는 [[Gilles Deleuze|Deleuze]]의 force에 대한 인용은 [[capitalism]]을 향하고 있다. ## Other Comments - ### Annotation **이하 페이지는 epub pdf변환 버전임** 20세기 중반 필름이 텔레비전에게 "cultural dominant"를 넘겨줬듯, 이제 텔레비전도 컴퓨터와 네트워크-베이스 digitally generated (뉴미디아)에게 넘겨줬다. [[Steven Shaviro|Shaviro]]가 보기에 이제 변화는 충분히 오래되었고 다른 media regime을 만들기에 충분했다 → new ways of manufacturing and articulating lived experience. 이 책의 목적 > My larger aim is to develop an account of what it feels like to live in the early twenty-first century. (8) > “I am interested in the ways that recent film and video works are expressive: that is to say, in the ways that they give voice (or better, give sounds and images) to a kind of ambient, free-floating sensibility that permeates our society today, although it cannot be attributed to any subject in particular.” (Shaviro, 2010, p. 8) 들뢰즈의 "blocs of affect" → symptomatic and productive expressive works. > “Rather, they lie at the very heart of social production, circulation, and distribution.” (Shaviro, 2010, p. 8) 즉 이 사람은 영화가 감각의 블락으로 (expressive image production)으로 사회 안에서 어떻게 존재하는가에 대한 질문을 하고 있다. [[affect and emotion]] > “For Massumi, affect is primary, non-conscious, asubjective or presubjective, asignifying, unqualified, and intensive; while emotion is derivative, conscious, qualified, and meaningful, a “content” that can be attributed to an already-constituted subject.” (Shaviro, 2010, p. 9) **emotion:** 절대 닫히지 않고 완성되지 않는다. affect를 testifies 한다. 이러한 emotions은 captured, reduced, and repressed. > “Our existence is always bound up with affective and aesthetic flows that elude cognitive definition or capture.” (Shaviro, 2010, p. 9) [[Brian Massumi|Massumi]]에게 있어서 두개의 차이는 분명하며 그렇기 때문에 [[Fredric Jameson]]이 말한 "waning of affect"란 말을 거부한다. 마쓰미에게 있어서 쇠퇴하는 것은 emotion이지 affect 가 아니다. **Diagrams** 1. Deleuze’s "control society" →perpetual modulations, ubiquitous networks 2. delirious (광란 상태의) financial flows → often in the form of derivatives and other arcane instruments 3. contemporary digital and postcinematic "media ecology" → processed digital code 4. gamespace →spectacle of cinema to the simulations of television →absolute ubiquity ### Related ```dataview LIST FROM [[@shaviro_post-cinematic_2010]] and -"Plans" and -"resources" ```