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Deleuze and Horror Film$
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Anna Powell

Print publication date: 2005

Print ISBN-13: 9780748617470

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748617470.001.0001

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Conclusion: Living Horror: Thoughts On Our Nerve-Endings

Conclusion: Living Horror: Thoughts On Our Nerve-Endings

Chapter:
(p.201) Conclusion: Living Horror: Thoughts On Our Nerve-Endings
Source:
Deleuze and Horror Film
Author(s):

Anna Powell

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748617470.003.0006

Deleuzian horror films threaten the stability of body and mind, transforming the embodied mind of the spectator as well as the bodies on screen. The horror movie, as its name suggests, is essentially movement. Instead of drawing representational equations, the image of the film moves in the human living image as part of the universal flux of matter. We are moved by, and move with, lighting, montage and the camera's motion in space and time. We are physically aroused by cinematography, editing and mise-en-scène. The images of viewer and film interlock in a machinic assemblage of movement-image. Horror films work the vibrations of sensory affect on our jarred and confused optic and aural nerves. The cinema books are part of Gilles Deleuze's wider philosophical project to assert that ‘the brain is the screen’ and to validate his interpretation of Henri Bergson's view of the universe as metacinema. Many horror films overtly present severely dysfunctional families and perverse sexuality. Psychoanalysis has provided substantial psycho-sexual templates to fit the fears and desires of horror, and has suggested their primal components.

Keywords:   Gilles Deleuze, horror films, mise-en-scène, Henri Bergson, psychoanalysis, movement-image, time, motion, sensory affect, metacinema

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