![]() ![]() Rather, I am interested in discussing Haneke’s Code Unknown (2000) as an instance of cinema’s attuned interface with the affective climate of our time-cinema as a technologically fluid medium that registers the violent affects relevant to the socioeconomic conditions of life in the 21st century with a particularly strong political and ethical force. My primary concern in this essay is not with the displacement of cinema by other media technologies, nor with a theory of affect as distinctive to these new media. Gilles Deleuze and Claire Parnet, Dialogues to administer and organize our intimate little fears. The powers that be need to repress us no less than to make us anxious. The tyrant, the priest, the captors need to persuade us that life is hard and a burden. The established powers need our sadness to make us slaves. ![]() Sadness, sad affects are all those which reduce our power to act. We live in a world which is generally disagreeable, where not only people but the established powers have a stake in transmitting sad affects to us. ![]()
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