A01=Kjetil Rodje
affective response in film analysis
American Motion Pictures
Antisocial Behavior
assemblage
audience embodiment
Author_Kjetil Rodje
Barrow Gang
Blood Assemblage
Blood Feast
Blood Images
Bullet Hits
bunch
Category=ATF
Category=JBCC1
Category=JBCT
cinematic
cinematic affect
Cinematic Attractions
Cinematic Images
Classical Hollywood Cinema
Corporeal Waste
Dirty Dozen
Double Bill
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
exploitation
exploitation cinema
Exploitation Films
feast
film
film aesthetics
Film Violence
genre hybridity
gordon
herschell
Hill Top
Horror Movies
Jonathan Crane
lewis
MHL.
Prince 2000a
Red Fluid
Reparative Reading Strategies
Valentine's Day Massacre
Valentine’s Day Massacre
visual culture studies
wild
Wild Bunch
Young Man
Product details
- ISBN 9780367598884
- Weight: 400g
- Dimensions: 156 x 234mm
- Publication Date: 30 Jun 2020
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Through studying images of blood in film from the mid-1950s to the end of the 1960s, this path-breaking book explores how blood as an (audio)visual cinematic element went from predominately operating as a signifier, providing audiences with information about a film’s plot and characters, to increasingly operating in terms of affect, potentially evoking visceral and embodied responses in viewers. Using films such as The Return of Dracula, The Tingler, Blood Feast, Two Thousand Maniacs, Color Me Blood Red, Bonnie and Clyde, and The Wild Bunch, Rødje takes a novel approach to film history by following one (audio)visual element through an exploration that traverses established standards for film production and reception. This study does not heed distinctions regarding to genres (horror, western, gangster) or models of film production (exploitation, independent, studio productions) but rather maps the operations of cinematic images across marginal as well as more traditionally esteemed cinematic territories. The result is a book that rethinks and reassembles cinematic practices as well as aesthetics, and as such invites new ways to investigate how cinematic images enter relations with other images as well as with audiences.
Kjetil Rødje is Postdoctoral Fellow in the Department of Media, Cognition and Communication at the University of Copenhagen, Denmark. He is the co-editor of Deleuzian Intersections: Science, Technology and Anthropology (Berghan, 2009).
