Violent Affect: Literature, Cinema, and Critique after Representation

Violence: most of us would be happy if we never had to experience it, and many are driven by the belief that nonviolent spaces exist. In Violent Affect, however, Marco Abel starts from a different, potentially controversial assumption: namely that violence is all-pervasive by ontological necessity. In order to work through the implications of this provocation, Abel turns to literary and cinematic works such as those by Don DeLillo, Bret Easton Ellis, Mary Harron, Patricia Highsmith, the Coen Brothers, and Robert DeNiro, contending that we do not even know what violent images are, let alone how they work and what they do.  Countering previous studies of violent images based on representational and, consequently, moralistic assumptions, which, Abel argues, inevitably reinforce the very violence they critique, Violent Affect instead turns to the concept of “affect” as a means to explain how violent images work upon the world. Arguing for what he calls a “masocritical” approach to violence, Abel’s analysis attends to the affects inherent to violent images with the goal of momentarily suspending judgment of them, thus allowing for new, unanswered critical questions about the issue of violence to emerge. Abel suggests that shifting from representational understandings of violence toward an account of its affective forces is a necessary step in developing more ethical tools to intervene in the world—for acting upon it for the betterment of the future.

Abel, Marco

Humor & Entertainment

University Of Nebraska Press

Violence: most of us would be happy if we never had to experience it, and many are driven by the belief that nonviolent spaces exist. In Violent Affect, however, Marco Abel starts from a different, potentially controversial assumption: namely that violence is all-pervasive by ontological necessity. In order to work through the implications of this provocation, Abel turns to literary and cinematic works such as those by Don DeLillo, Bret Easton Ellis, Mary Harron, Patricia Highsmith, the Coen Brothers, and Robert DeNiro, contending that we do not even know what violent images are, let alone how they work and what they do. Countering previous studies of violent images based on representational and, consequently, moralistic assumptions, which, Abel argues, inevitably reinforce the very violence they critique, Violent Affect instead turns to the concept of “affect” as a means to explain how violent images work upon the world. Arguing for what he calls a “masocritical” approach to violence, Abel’s analysis attends to the affects inherent to violent images with the goal of momentarily suspending judgment of them, thus allowing for new, unanswered critical questions about the issue of violence to emerge. Abel suggests that shifting from representational understandings of violence toward an account of its affective forces is a necessary step in developing more ethical tools to intervene in the world—for acting upon it for the betterment of the future.

Movies

The contemporary German directors collectively known as the "Berlin School" constitute the most significant filmmaking movement to come out of Germany since the New German Cinema of the 1970s, not least because their films mark the emergence of a new film language. The Berlin School filmmakers, including Christian Petzold, Thomas Arslan, Angela Schanelec, Christoph Hochhäusler, Ulrich Köhler, Benjamin Heisenberg, Maren Ade, and Valeska Grisebach, are reminiscent of the directors of the New German Autorenkino and of French cinéma des auteurs of the 1960s. This is the first book-length study of the Berlin School in any language. Its central thesis - that the movement should be regarded as a "counter-cinema" - is built around the unusual style of realism employed in its films, a realism that presents images of a Germany that does not yet exist. Abel concludes that it is precisely how these films' images and sounds work that renders them political: they are political not because they are message-driven films but because they are made politically, thus performing a "redistribution of the sensible" - a direct artistic intervention in the way politics partitions ways of doing and making, saying and seeing. Marco Abel is Professor of English and Film Studies at the University of Nebraska, Lincoln.

The Counter-Cinema of the Berlin School (Screen Cultures: German Film and the Visual)

Camden House

The Counter-Cinema of the Berlin School (Screen Cultures: German Film and the Visual, 9)

See the best price to sell, buy, or rent books by Abel, Marco. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Abel, Marco

See the best price to sell, buy, or rent books by Abel, Marco. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Violent Affect: Literature, Cinema, and Critique after Representation

Violent Affect: Literature, Cinema, and Critique after Representation

The Counter-Cinema of the Berlin School (Screen Cultures: German Film and the Visual)

The Counter-Cinema of the Berlin School (Screen Cultures: German Film and the Visual, 9)