The pulse in cinema
the aesthetics of horror

The Pulse in Cinema acknowledges that the pulse is felt" in the body.

Intro -- List of Figures -- Acknowledgements -- Introduction -- Rosalind E. Krauss's Theory of the Pulse -- Rhythm and Pulse -- The Pulse: A Philosophical Enquiry -- Body Horror -- 1. The Rhythm of Life: The Pulse in the Image -- Rhythm and Pulse -- Rhythm in Experimental Cinema -- Protocinema: Étienne-Jules Marey -- The Pulse in Psychoanalysis: Sigmund Freud -- 2. The Rhythm of Life: The Pulse in the Spectator -- Surfaces of Inscription and Passages of Intensity -- Movement, and an Opening -- The Logic of Sensation as a Diastolic-Systolic Opening -- The Aesthetics of the Open: Georges Franju's Le Sang des bêtes/Blood of the Beasts (1949) -- A Libidinal Economy, and an Opening -- Candour as the Body's Openness to an Outside -- 3. Aisthesis and Dispositif: The Pulse and Its Analogues -- Extracting the Fear that Tingles the Spine: The Hype, the Buzz of the Gimmick, and the Bottom Line -- The Execution: The Tingler (1959) -- Aisthesis and Prescribed Lines -- Prescription and the Aesthetics of Blood Spilled -- The Pulse 'Exposed' -- Dispositif: Lines of Fright -- Figural Analogues or 'a Metonymy Without End': The Heart that Throbs, the Spine that Tingles, the Mouth that Screams. Do you have the Guts? -- 4. Automutilation and Metonymy: The Economy of the Pulse -- General Economy as Energetic Expenditure -- Two General Economies of Communication and Communion -- Automutilation and George A. Romero's Dawn of the Dead (1978) -- An Operation in the Morgue: Lucio Fulci's L'aldilà/The Beyond (1981) -- The Sovereign Operation as Affective Experience -- The Pulse as a Sovereign Operation in Horror Cinema -- 5. Blood and Convulsive Affect: Vectors of the Pulse as Sovereign Operations -- Andrzej Żuławski's Possession (1981) -- Possession and Dispossession -- Body Horror and Convulsive Affect.