Cinematic Nihilism: Encounters, Confrontations, Overcomings.

videodrome-3I’ve signed a contract with Edinburgh University Press for the publication of a collection of essays to be titled Cinematic Nihilism: Encounters, Confrontations, Overcomings. The completed manuscript is due to the publisher by the end of January 2017.

The peer review process has so far been quite rigorous (and sometimes stressful!), but I think this has helped to shape and clarify the aims and purposes of the book. I’m excited about the result.

The collection consists of essays addressing nihilistic themes in an international variety of popular films. Some of the essays have previously appeared in journals such as Film and Philosophy, Film International, Screen Bodies, The Journal of Popular Culture, and The International Journal of Scottish Theatre and ScreenOther pieces new to this collection include an introductory essay addressing the philosophical history of nihilism and its relation to film; an updated and revised treatment of nihilistic themes in George Romero’s Dead films; an essay on Fight Club; and an essay exploring the nihilism of Yukio Mishima.

Part of the fun of working on this project includes selecting screen grabs from the various movies discussed in the book as illustrations. I also get some say in the cover design. Currently, I’m thinking that the image above, from David Cronenberg’s 1983 film Videodrome, would make a great cover!

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Screen Bodies

jnl_cover_screen[1]Issue #1 of the journal Screen Bodies is now available. My article, “Monstrous Masses: The Human Body as Raw Material,” appears on pages 51-70:

This article investigates the varied reactions of audiences to cinematic depictions of the human body as objectified raw material. The investigation proceeds, first, by explicating an ontological distinction between being-in-itself and being-for-itself, which in turn allows for a clarification of the processes involved in the objectification of one human being by another. The article then argues that in films where depictions of bodily objectification are pushed to an extreme—such as The Human Centipede, Nymphomaniac, and Videodrome—a potentially positive, empathic potential is unlocked in audiences. Rather than simply resulting in the humiliation of human characters, such films encourage audiences to experience a kind of sympathy for the characters that is related to, but not distinct from, other horrific, humorous, and erotic feelings. The article concludes that the objectification of human bodies in film is both unavoidable and a potentially positive moral exercise.