A Phenomenology of Horror
Phenomenology redefined through body horror.
What is the human body? Both the most familiar and unfamiliar of things, the body is the centre of experience but also the site of a prehistory anterior to any experience. Alien and uncanny, this other side of the body has all too often been overlooked by phenomenology. In confronting this oversight, Dylan Trigg’s The Thing redefines phenomenology as a species of realism, which he terms unhuman phenomenology. Far from being the vehicle of a human voice, this unhuman phenomenology gives expression to the alien materiality at the limit of experience.
By fusing the philosophies of Merleau-Ponty, Husserl, and Levinas with the horrors of John Carpenter, David Cronenberg, and H.P. Lovecraft, Trigg explores the ways in which an unhuman phenomenology positions the body out of time. At once a challenge to traditional notions of phenomenology, The Thing is also a timely rejoinder to contemporary philosophies of realism. The result is nothing less than a rebirth of phenomenology as redefined through the lens of horror.
This book ponders the fate of the movies in a world of digital media, globalization, and massive financial flows.
Anne G. Sabo
After Pornified: where female pornmakers lead the way, empowering women to claim their bodies and sex against a pornified culture.
Pornography feminists unshackle their desires and celebrate their sexuality in the patriarchal world of filmed sex.
If the sound bite is the new order, then how do we make every word count?
This book explores the possibility that cinema can challenge our contemporary nihilism and restore belief in new transformative possibilities for life.
How the transition from analogue to digital, and the rise of animation and simulation transform our concepts of life in contemporary culture.
This book is about an important sub-genre: the sixty Western films set in post World War II.
Joshua David Gonsalves
Bio-Politicizing Cary Grant explicates the ethnic, racial and sexual ambiguity of Cary Grant’s star persona as both an inculcation of (and resistance to) biopolitical imperatives in fifties-era “America”.