Terror and the Cinematic Sublime

Essays on Violence and the Unpresentable in Post–9/11 Films


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About the Book

This collection considers film in the aftermath of September 11, 2001. Eleven essayists address Hollywood movies, indie film, and post-cinematic media, including theatrical films by directors such as Steven Spielberg, Darren Aronofsky, Quentin Tarantino and Spike Lee, and post-cinematic works by Wafaa Bilal, Douglas Gordon and Peter Tscherkassky, among others. All of the essays are written with an eye to what may be the central concept of our time, the sublime. The sublime—that which can be thought but not represented (the “unpresentable”)—provides a ready tool for analyses of trauma, horror, catastrophe and apocalypse, the military-industrial complex, the end of humanism and the limits of freedom. Such essays take the pulse of our cultural moment, while also providing the reader with a sense of the nature of the sublime in critical work, and how it continues to evolve conceptually in the 21st century.

About the Author(s)

Todd A. Comer is an associate professor of English at Defiance College in Ohio and has published in such journals as SubStance, the Journal of Narrative Theory, and the Journal of Modern Literature.
Lloyd Isaac Vayo is an adjunct instructor at Concordia University-St. Paul and has published in the Journal of Sonic Studies, Rhizomes and Popular Music and Society.

Bibliographic Details

Edited by Todd A. Comer and Lloyd Isaac Vayo
Format: softcover (6 x 9)
Pages: 216
Bibliographic Info: notes, bibliography, index
Copyright Date: 2013
pISBN: 978-0-7864-7207-9
eISBN: 978-1-4766-0176-2
Imprint: McFarland

Table of Contents

Table of Contents

Preface and Acknowledgments  1

Introduction: Terror and the (Post)Cinematic Sublime Todd A. Comer and Lloyd Isaac Vayo  5

Hits and Missives: Excluding/Embracing 9/11

Plummeting to the Pavement: The Fall of the Body in

  Spider-Man Kartik Nair  15

When Does the Hurting Stop? Cloverfield and the

  (Re)Enabling of Fantasy in the Post-9/11 City Scott Wilson  29

Keeping Terror Alive: The Political Economy of Visibility

  in Inside Man Sven Cvek  42

Pushing the Enveloped: Exposing the Limits of Freedom

Aronofsky’s Cinematic Vision and the Ethical Meaning of

  Freedom as the Sublime Horizon of Amor Fati Donald Callen  57

The Apocalyptic Sublime: Hollywood Disaster Films and

  Donnie Darko Seung-hoon Jeong  72

History Is Always Virgin: Quentin Tarantino’s Inglourious

  Basterds and the Lyotardian Sublime Marco Grosoli  88

Tarrying with Sublimity: The Limits of Cinematic Form in

  Duncan Jones’ Source Code Michael J. Blouin  103

Communiqué-tion Breakdown: (Post)Cinematic Interruptions

Pleasure and Pain: Post-Cinematic Remakes Holly Willis  119

Watching the World Burn: Intensity, Absurdity and Echoes

  of the Sublime in Contemporary Science Fiction Destruction John P. Warton  134

The AIllusion: Intelligent Machines, Jacques Derrida’s “Ethical

  Turn” and Oren Peli’s Paranormal Activity Larrie Dudenhoeffer  150

The Indigestibility of the World: Birthing the Posthuman in

  Spielberg’s A.I. Todd A. Comer  165

Afterword: Afterwards Patrick Fuery  181

Selected Bibliography  187

About the Contributors  199

Index  201