{"title":"Disaster Cinema. A Historical Overview","authors":"Nikita Mathias","doi":"10.1017/9789048550005.006","DOIUrl":"https://doi.org/10.1017/9789048550005.006","url":null,"abstract":"The aim is to give a historical account of the disaster movie genre in\u0000 chronological order, in continuation of the cultural and technological\u0000 history of sublime disasters. The films in question employ the receptive\u0000 and general aesthetic characteristics of the sublime for their depictions\u0000 of catastrophic events. My discussion also includes the specific media\u0000 technological environments in which the films were performed, insofar\u0000 as cinema’s potential to function as a medium of the sublime represents\u0000 the receptive foundation of the films. What is excluded from this historical\u0000 account is the interpretations of the films’ disasters as allegories of specific\u0000 contemporary political and socio-cultural events. In opposition to these\u0000 (often premature) readings, one must take the immediate sensuality and\u0000 the receptive tactics of disaster films seriously and elucidate the genre’s\u0000 transformations by reference to the mechanisms of economic profit and\u0000 technological innovation and application.","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133866299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cinema – A Medium of the Sublime?","authors":"Nikita Mathias","doi":"10.2307/j.ctv15d7zv1.7","DOIUrl":"https://doi.org/10.2307/j.ctv15d7zv1.7","url":null,"abstract":"I set out to explore cinema in terms of its potential function as a medium\u0000 of the sublime. Burke and Kant’s accounts of the sublime are employed\u0000 to examine their correlation with cinema’s technological, formal, and\u0000 receptive repertoire. This encompasses intrinsic features such as cinematography’s\u0000 innovation of putting in motion photographic images,\u0000 aspects of the montage, the aesthetic potential of the camera as cinema’s\u0000 central organ of expression and perception, sound effects, and multimedia\u0000 interplay as well as external features of cinema which constitute the\u0000 medium as a concrete space for cinematic experiences. To what extent\u0000 do these various features provoke, facilitate, mediate, or participate in a\u0000 sensory and affective overpowering of the viewer?","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124129620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mediating the Sublime","authors":"Nikita Mathias","doi":"10.2307/j.ctv15d7zv1.6","DOIUrl":"https://doi.org/10.2307/j.ctv15d7zv1.6","url":null,"abstract":"As if accepting Edmund Burke and Immanuel Kant’s rejection of the\u0000 visual arts as carriers of the experience of the sublime as a productive\u0000 challenge, artists and craftsmen already in the eighteenth century started\u0000 to experiment with media technological innovations that would give more\u0000 dynamic, greater and overwhelming images of sublime disaster events.\u0000 More precisely, such innovations sought to overcome the spatial and\u0000 temporal limitations of easel painting, aiming to provide experiences of\u0000 illusionistic immersion and of sensory, affective, and emotional intensity.\u0000 The media discussed in this chapter range from the moving images of the\u0000 Eidophusikon and the Diorama to the large-scale pictures of the Panorama,\u0000 John Martin’s disaster motifs, and American landscape painting. Moreover,\u0000 these various media participated in broader popularization processes, as\u0000 pictorial experiences shifted from being viewed as elite activities toward\u0000 phenomena of middle class leisure entertainment.","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125957998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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