Includes bibliographical references (pages 315-332) and index.
Contents:
Preface. Ten points to begin -- Chapter One. A Tear That Does Not Drop, But Folds: Crying is structured like a language; Tears without bodies -- Chapter Two. Film Theory's Absent Center: Emotion, feeling, excess, affect; Affective fallacies; Reading for affect; Mise-n'en-scène: formalism after presence -- Chapter Interval: solitude -- Chapter Three. The Illumination of Light: Visible darkness: optics according to Augustine; Light, the peculiar; Ongoing dialogues with loss; Grief without sublation -- Chapter Four. Grief and the Undialectical Image: Ma mort indialectique; Extra missing things; Acedia and the Pose; Where being would have been; A still and heavy pain -- Chapter Five. Aesthetic Exclusions and the Worse than the Worst: Philosophy of the retch; Aesthetics' tastes; What is worse than the worst; Objects, abjects, close-ups; Laura Dern's vomit; Wild hearts, sick figures -- Chapter Six. Disgust and the Cinema of Haut Goût: Gastronomy according to peter greenaway; Dissecting qualities; Rot's progress; On having an excellent palate -- Interval: formalism and affectivity -- Chapter Seven. Intermittency, Embarrassment, Eismay: These things that creep, stir and squirm; Heksebrev; Interruption or the interval; Esmoi, esmais, émoi; Treading red blue water -- Chapter Eight. Nothing/Will Have Taken Place/But the Place: Open Water Anxiety: Something or nothing; A shark is a form of time; A shark punctures a line; Death is a turn of the color wheel; Nothing but the place -- Chapter Nine. To Begin Again: the Ingression of Joyful Forms: Affirmable modes of recurrence; (Shall we) let x =; Putting one's faith in form.
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