The Pulse in Cinema acknowledges that the pulse is „felt” in the body, yet also argues that the pulse has a wider reaching effect in cinema than simply the physiological response of the spectator to the image – it’s the affective force in cinema.
When we think of the pulse in cinema, we may think of the heartbeat of the spectator as they respond to affective or moving scenes in the film, or how fast-paced and shocking images exacerbate this affective response. Conceptually extending cinema spectatorship, The Pulse in Cinema contends that cinema is an energetic arrangement of affective and intense forces, where the image and the spectator are specific components. Analysing body horror films such as The Tingler (1959), Dawn of the Dead (1978) and The Beyond (1981), this book builds on Lyotard’s concept of the dispositif, Deleuze’s work on sensation and Bataille’s economic theory to conceptualise a pulse in cinema, arguing for its importance in cinema spectatorship theory.
When we think of the pulse in cinema, we may think of the heartbeat of the spectator as they respond to affective or moving scenes in the film, or how fast-paced and shocking images exacerbate this affective response. Conceptually extending cinema spectatorship, The Pulse in Cinema contends that cinema is an energetic arrangement of affective and intense forces, where the image and the spectator are specific components. Analysing body horror films such as The Tingler (1959), Dawn of the Dead (1978) and The Beyond (1981), this book builds on Lyotard’s concept of the dispositif, Deleuze’s work on sensation and Bataille’s economic theory to conceptualise a pulse in cinema, arguing for its importance in cinema spectatorship theory.
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- The Concept of Pulse in Cinema: The book discusses how the pulse in cinema extends beyond physiological responses, representing the affective force within cinematic experience that influences both the body and mind of the spectator.
What is the concept of ‘pulse’ in cinema as described in the book?
The ‘pulse’ in cinema extends beyond mere physiological response and represents the affective force that influences both the body and the emotional experience of the spectator in cinematic viewing.
