The Squid Cinema From Hell: Kinoteuthis Infernalis and the Emergence of Chthulumedia

by William Brown, David H. Fleming

Overview

Here be Kraken! The Squid Cinema From Hell draws upon writers like Vilé­ Flusser, Donna J. Haraway, Graham Harman and Eugene Thacker to offer up a critical analysis of cephalopods and other tentacular creatures in contemporary media, while also speculating that digital media might themselves constitute a weird, intelligent alien. The book engages with contemporary discourses of posthumanism, speculative realism, object-oriented ontology and animal studies to suggest that humans are the products of media rather than media being the products of humans.

Including case studies of films by Denis Villeneuve, Park Chan-wook and Cézanne Sciamma, The Squid Cinema From Hell also provides a daring engagement with various media beyond cinema, including literature, music videos, 4DX, advertising, websites, YouTube, Artificial Intelligence and more. Zounds! This unique and Lovecraftian book will change the way you think about, and with, our contemporary, media-saturated world. For as we contemplate the abyss, the abyss looks back at us - and chthulumedia, or media at the end of human times, begin to emerge.

Product Details

ISBN-13:	9781474463720
Publisher:	Edinburgh University Press
Publication date:	05/26/2020
Pages:	328
Product dimensions:	6.14(w) x 9.21(h) x 0.75(d)

About the Author

William Brown is a Senior Lecturer in Film at the University of Roehampton, London. He is the author of various books, including Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018) and Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013). He is also a maker of micro-budget films, including En Attendant Godard (2009), Selfie (2014) and This is Cinema (2019).

David H. Fleming is a Senior lecturer in the Communications, Media and Culture Division at the University of Stirling, Scotland. His research interests surround the intersectionalities of cinema, philosophy and technology and publishes widely in interdisciplinary journals including SubStance, Film-Philosophy, Deleuze Studies, Journal of Chinese Cinemas, Journal of Urban Cultural Studies, Social Semiotics and edited collections such as Posthumanisms Through Deleuze (Indiana University Press, forthcoming) and Deleuze and Film (Edinburgh University Press, 2012).

Table of Contents

Acknowledgments

Beaky prepostface

1. Introducing the End

2. Pulp Fiction and the Media Archaeology of Space

3. Encounters with a 4DX Kino-Kraken

4. Actorly Squid/Sets and Cephalopod Realism

5. The Erotic Ecstasy of Cthulhu

6. Cosmic Light, Cosmic Darkness

7. The Backwash of Becoming Cthulhu, Or, L8py, Tentacular Time

8. From the Modern Prometheus to the Modern Medusa

What People are Saying About This

Why did we have to wait so long for a cephalopodic media archaeology? Finding the limber mollusc at the heart of twentieth century systems theory and neuroscience, capitalism and cinema, Brown and Fleming show that modern culture has long been embraced by a tentacular abstract line, immersed in an inky and vaporous haptic space. The authors’ eight-limbed persona writes with a giddily empathic style that will grip you, squeeze you, and leave you pleasantly limp.

Laura U. Marks

Why did we have to wait so long for a cephalopodic media archaeology? Finding the limber mollusc at the heart of twentieth century systems theory and neuroscience, capitalism and cinema, Brown and Fleming show that modern culture has long been embraced by a tentacular abstract line, immersed in an inky and vaporous haptic space. The authors’ eight-limbed persona writes with a giddily empathic style that will grip you, squeeze you, and leave you pleasantly limp.

Patricia Pisters

Inspired by Flusser and Bec’s Vampyrotheuthis Infernalis and many other sci-phy philosophy and posthuman media theory, this book takes us on a strange and yet serious ‘eight legged’ tour along the omnipresence of the cephalopod in cinema. Arguing that squids and octopuses are media, Brown and Fleming convincingly demonstrate that the tentacular and modular nature of digital media practices need more squid-thinking. Original and knowledgeable, and deliciously written this book presents provocative thoughts for (and from) the future of our media world and deserves highest recommendation.

David Martin-Jones

This is a must-read book. To say that it's standout, or stands out, would be an understatement. The deranged duo of Brown and Fleming, writing as though Deleuze and Guattari dreamed up a book on an ill-advised convertible road trip to Vegas, have produced some of the most thought-provoking, ground-breaking, mind-enhancing, occult-embracing, change-inspiring, octo-punny, scholarship on film and ecology ever. With examples ranging from Scarlett Johansson to The Handmaiden (inspired by thinkers from Spinoza to Haraway to Flusser), this innovative work at the convergence of the post-human and the post-cinematic challenges us to think (and feel) anew about our cephalopodic world. Is this, somehow, more than a book? Is it, in fact, an Arrival-style portal into another idea of what is possible for the future of academic writing in the Chthulucene? I hope so. One day we may end up living under water, and if so, this may be the survival manual we all need. Will its tentacles take hold of your mind? Even if the suckers don’t grab you, I guarantee you won’t be bored.

Editorial Reviews

Inspired by Flusser and Bec’s Vampyrotheuthis Infernalis and many other sci-phy philosophy and posthuman media theory, this book takes us on a strange and yet serious ‘eight legged’ tour along the omnipresence of the cephalopod in cinema. Arguing that squids and octopuses are media, Brown and Fleming convincingly demonstrate that the tentacular and modular nature of digital media practices need more squid-thinking. Original and knowledgeable, and deliciously written this book presents provocative thoughts for (and from) the future of our media world and deserves highest recommendation.

Patricia Pisters

An excellent framework for how to look at cinema through a cephalopodic lens without giving in to the fetishizing impulse that the authors see as endemic to many fields dealing in the hybridization of human/object/ animal theories […] this text is especially useful in establishing an imaginative map of how to approach or engage with media in the winter of 2022, as the globe is deluged, over and over, with world-historic events that destabilize reality. Put differently, this is perhaps the best time for a text that destabilizes how we think of squid, cinema, time, being, and erotics to help imagine futures in an increasingly unstable world.

Synoptique - Genevieve Newman

This is a must-read book. To say that it's standout, or stands out, would be an understatement. The deranged duo of Brown and Fleming, writing as though Deleuze and Guattari dreamed up a book on an ill-advised convertible road trip to Vegas, have produced some of the most thought-provoking, ground-breaking, mind-enhancing, occult-embracing, change-inspiring, octo-punny, scholarship on film and ecology ever. With examples ranging from Scarlett Johansson to The Handmaiden (inspired by thinkers from Spinoza to Haraway to Flusser), this innovative work at the convergence of the post-human and the post-cinematic challenges us to think (and feel) anew about our cephalopodic world. Is this, somehow, more than a book? Is it, in fact, an Arrival-style portal into another idea of what is possible for the future of academic writing in the Chthulucene? I hope so. One day we may end up living under water, and if so, this may be the survival manual we all need. Will its tentacles take hold of your mind? Even if the suckers don’t grab you, I guarantee you won’t be bored.

David Martin-Jones

Why did we have to wait so long for a cephalopodic media archaeology? Finding the limber mollusc at the heart of twentieth century systems theory and neuroscience, capitalism and cinema, Brown and Fleming show that modern culture has long been embraced by a tentacular abstract line, immersed in an inky and vaporous haptic space. The authors’ eight-limbed persona writes with a giddily empathic style that will grip you, squeeze you, and leave you pleasantly limp.

Laura U. Marks