What if feels like to live in the early twenty first century

… Film gave way to television as a “cultural dominant’” a long time ago, in the mid-twentieth century; and television in turn has given way in recent years to computer- and network-based, and digitally generated, “new media”. Film itself has not disappeared, of course; but filmmaking has been transformed, over the past two decades, from an analog process to a heavily digitised one…

… we are now witnessing the emergence of a different mode of production, than those which dominated the twentieth century. Digital technologies, together with neoliberal economic relations, have given birth to radically new ways of manufacturing and articulating lived experience.

… I am interested in the ways that recent film and video work … give voice ( or better give sounds and images) to a kind of ambient, free-floating sensibility that permeates our society today…
These works are symptomatic, in that they provide indices of complex social processes, which they transduce, condense and rearticulate in the form of what can be called , after Deleuze and Guattari, “blocs of affect.” But they are also productive, in the sense that they do not represent social processes, so much as they participate actively in these processes, and help to constitute them.

Films and music videos, like other media works, are machines for generating affect, and for capitalizing upon, or extracting value from, this affect. As such, they are not ideological superstructures, as and older sort of Marxist criticism would have it. Rather, they lie at the very heart of social production, circulation, and distribution. They generate subjectivity, and they play a crucial role in the valorization of capital. Just as the old Hollywood continuity editing system was an integral part of the Fordist mode of production, so the editing methods and formal devices of digital video and film belong directly to the computing –and-information-technology infrastructure of contemporary neoliberal finance. There’s a kind of fractal patterning in the way that social technologies, or processes of production and accumulation, repeat, or “iterate” themselves on different scales, and at different levels of abstraction.

from Steven Shaviro’s Post Cinematic Affect - where he looks at four works – Grace Jones’ Corporate Cannibal video; Olivier Assayas’ movie Boarding Gate, starring Asia Argento; Richard Kelly’s movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor’s Gamer.

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