Intensities of Feeling:<i>Cloverfield</i>, the Uncanny, and the Always near Collapse of the City

Pile, Steve

doi:10.1002/9781444395105.ch25

Cited by 6 publications

(9 citation statements)

References 3 publications

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“…The concept of uncanny has been extensively explored within psychoanalytic geographies, in particular as a lens through which to explore urban space and city life (Hook, 2005;Pile, 2005). It has often been used to explore seemingly everyday encounters and phenomena, such as the beauty salon, crowds, darkness, but also that which is deemed to be 'extraordinary', such as ghosts, déjà vu and fate (Pile, 2011;Royle, 2003;Straughan, 2014). Yet, the uncanny has also become a mode of analysis outside of the psychanalytic (Kraftl, 2007).…”

Section: The Uncannymentioning

confidence: 99%

The affective life of austerity: uncanny atmospheres and paranoid temporalities

Hitchen

2019

Social & Cultural Geography

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. AbstractThis paper moves beyond conceptualisations of austerity as a fiscal policy towards understanding austerity as lived and felt in everyday life, with a particular focus on its affective life. Through an ethnographic focus on public libraries, this paper argues that that austerity can take the form of an affective atmosphere. Bringing together psychoanalytic and Spinozist-Deleuzian accounts of affect this paper explores austerity as an uncanny atmosphere, in which austerity is lived through a series of unknowns that re-emerge throughout the library space. Paranoia subsequently emerges as a way in which to live with uncanny austerity -to make known the unknowns generated by austerity. This paranoia cannot be attributed to 'paranoid individuals', but to practices that become paranoid due to the blurring of reality and fiction that uncanny austerity generates. As austerity continues year after year, the uncertainties that emerge as a result of continual budget reductions are at the same time felt as something already known. In other words, there is a felt sense that austerity will inevitably lead to the contraction of the library service. Lived austerity, therefore, now carries such weight and has a particular depth of experience due to the innumerable previous years of, and encounters with, austerity.

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Section: The Uncannymentioning

confidence: 99%

The affective life of austerity: uncanny atmospheres and paranoid temporalities

Hitchen

2019

Social & Cultural Geography

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“…I therefore wish to build upon Dittmer's piece, further unpacking the experiential dimensions of 3-D cinematography specifically, an integral facet of the wider contemporary special and visual effects 'revolution'. Given the recent wave of discussions around the affective and experiential qualities of popular media (see Carter and McCormack 2010;Dittmer 2010Dittmer , 2011Hughes 2010Hughes , 2013Pile 2011;Pinkerton and Dodds 2009), such a discussion of 3-D cinema, a medium premised precisely around appeals to the sensory, appears fitting. In critically considering the 'affective' dimensions of this captivating storytelling medium, this section reflects upon how the medium is framed, both by film industry rhetoric, consumer testimonies, and scholarly discourse, in terms of its capacity to offer an 'immersive' consumer experience.…”

Section: Why 3-d Cinema?mentioning

confidence: 99%

“…The most amazing tactual effects'' (Aldous Huxley 1984in Paterson 2006 3-D cinema is a largely overlooked media within geographical critique. This paucity is notable given the sustained academic consideration afforded to other popular media, including, for example: newspaper cartoons (Dodds 1998(Dodds , 2010aFalah et al 2006), videogames (Ash 2009(Ash , 2010a(Ash , 2010b(Ash , 2012Ash and Gallacher 2011;Hughes 2010;Power 2007;Shaw 2010;Shaw and Sharp 2013;Shaw and Warf 2009;Stahl 2006), graphic novels (Holland 2012), comic books (Dittmer 2005(Dittmer , 2007, radio (Pinkerton and Dodds 2009), magazines (Sharp 2000), journalism (Pinkerton 2013), and film (Aitken and Dixon 2006;Carter and Dodds 2011;Carter and McCormack 2006;Dittmer 2011;Dittmer and Dodds 2013;Dodds 2010b;Lukinbeal andZimmermann 2006, 2008;Pile 2011;Power and Crampton 2005;Shapiro 2009;Sharp 1998).…”

Section: Introductionmentioning

confidence: 99%

3-D cinema: immersive media technology

Jackman

2015

GeoJournal

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3-D cinema is a largely overlooked media within geographical critique. This omission is notable given both the sustained academic consideration afforded to other popular media, the medium's significant commercial and popular success, and its status as an 'affective' and captivating storytelling medium. With reference to film industry advertisements, the experiential dimensions of the 3-D cinematic encounter and its (popular) framing as an 'immersive' consumer experience are explored. In particular, the notion of 'immersion' is unpacked with reference to the medium's engineering and production techniques. In so doing, the intertwinement of the industrial desire for ever more 'immersive' and 'realistic' consumer experience is explored in relation to the engineering techniques exhibiting perceptual mimicry, or what could be termed 'mimetic engineering'. The association between 3-D cinema and 'tactile' images is then explored with reference to geographic literatures on 'haptics' and technologies of touch. A number of recent 'innovations' in these fields are drawn upon in order to complicate 3-D cinema's association with 'tactility'. In so doing, a technological shift towards the increasingly pervasive and sophisticated engagement of the wider multi-sensory palette is explored. Drawing upon recent media technology 'innovations', this persistent and relentless desire for ever more 'immersive' and perceptuallyconvincing media technology is explored in light of developing media geographies.

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“…This is a significant claim to make so let me briefly qualify it. The uncanny is a particular apt concept to consider the strained enlacement of individuals and culture because it pertains to an awkward doubling and dynamic dividing of the liminal spaces between oneself and other people (see also Hook, 2005;Pile, 2001;2011). For example, David Sibley (1995) and Robert Wilton (1998) have used Freud's notion of the "uncanny" (unheimlich) and Julia Kristeva's notion of "abjection" to consider the organization of social spaces in terms of the anxiety-ridden enforcement of boundaries that distinguish between harmless purity and threatening defilement.…”

mentioning

confidence: 99%

“…Elizabeth Straughan (2014) has explored the "uncanny in the beauty salon" in terms of feelings of dread that emanate from the material and coemergent spaces of skin and technology. The uncanny is a particular apt concept to consider the strained enlacement of individuals and culture because it pertains to an awkward doubling and dynamic dividing of the liminal spaces between oneself and other people (see also Hook, 2005;Pile, 2001;2011). While space prevents me from elaborating on the above studies or engaging other valuable studies in psychoanalytic geography on other forms of uneasiness such as anxiety associated with castration (Nast, 2014) or doing ethnographic research (Proudfoot, 2015), it is fair to say that psychoanalytic geographers have yet to fully explore uneasiness in culture in terms of the intersubjective dynamics of maintaining appearances in mundane situations.…”

mentioning

confidence: 99%

Uneasiness in culture, or negotiating the sublime distances towards the big Other

Kingsbury

2017

Geography Compass

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This paper engages Slavoj Žižek's thesis that people's integration into a dominant culture requires successfully negotiating certain “distances” towards what Jacques Lacan called the “big Other,” that is, a nonexistent locus that subtly guides symbolic rules, conventions, and mandates. My main goal here is to illustrate how Žižek's conceptualizations of distance and the big Other can further our geographical theorizations of culture, especially in terms of Sigmund Freud's notion of the “uneasiness in culture.” I explore Žižek's identification of three modes of distanciation towards the big Other—“inherent transgression”, “empty gesture,” and “fetishistic disavowal,” which abound in uneasiness because they are sublime, that is, demarcated by virtuality and unfathomability. I also discuss how the demise of the big Other's authority has produced new spaces of cultural uneasiness that can be usefully understood in terms of increased interactions between everyday microcultures.

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Intensities of Feeling:Cloverfield, the Uncanny, and the Always near Collapse of the City

Cited by 6 publications

References 3 publications

The affective life of austerity: uncanny atmospheres and paranoid temporalities

The affective life of austerity: uncanny atmospheres and paranoid temporalities

3-D cinema: immersive media technology

Uneasiness in culture, or negotiating the sublime distances towards the big Other

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