The form of the affect: Grief, disgust, anxiety, and joy in film and critical theory.

摘要

This dissertation interrogates the relationship between form and affect through intertextual readings of grief disgust, anxiety, and joy in film and critical theory. Against the widespread claim that these two concepts are antithetical---that affect is an immediate, visceral experience; that formalism is cold and affectless---I argue that affects have forms, in the sense of specific and unique structures that must be read for, and that affect inheres in components of cinematic form. I offer an account of cinematic affects that radically diverges from existing paradigms in film and literary studies, theorizing the concept outside of humanism, embodiment, cognition, experience, interiority, expressivity, and spectatorship. I replace the interiority of emotion with the exteriority of visible form and subsequently formulate the concept of "mise-n'en-scene"---that which is not put into the scene, not enough put into the scene, and put into the non-scene. I supplement this theoretical investigation with a transdisciplinary one: the forms of specific affects are read through the lenses of film and critical theory, psychoanalysis, continental philosophy, and literary theory, along with art-historical concepts such as tableau, temporal structures such as intermittency, and the founding texts of French gastronomy. In readings of texts by Kierkegaard, Nietzsche, Spinoza, Barthes, Derrida, Freud, Lacan, and Brillat-Savarin, and films by Michael Haneke, Peter Greenaway, Hollis Frampton, and a contemporary horror film, I argue that highly formalist films are suffused with affect, and genres taken to be (and often derided as) pure affect, such as horror, are rigorously governed by form. To insist that form has an affective intensity and that affects have structured forms is not to reduce the affectivity of affects, but to bring to presence the force of form.