Pub Date : 2020-12-31DOI: 10.1515/9789048550005-003
{"title":"3. The Iconography of the Sublime","authors":"","doi":"10.1515/9789048550005-003","DOIUrl":"https://doi.org/10.1515/9789048550005-003","url":null,"abstract":"","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127298827","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}
Pub Date : 2020-12-31DOI: 10.1515/9789048550005-005
{"title":"5. Cinema – A Medium of the Sublime?","authors":"","doi":"10.1515/9789048550005-005","DOIUrl":"https://doi.org/10.1515/9789048550005-005","url":null,"abstract":"","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116476044","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}
Pub Date : 2020-12-31DOI: 10.1515/9789048550005-004
{"title":"4. Mediating the Sublime","authors":"","doi":"10.1515/9789048550005-004","DOIUrl":"https://doi.org/10.1515/9789048550005-004","url":null,"abstract":"","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"1994 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116670194","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}
Pub Date : 2020-12-31DOI: 10.1515/9789048550005-007
{"title":"7. The Sublime in Disaster Cinema","authors":"","doi":"10.1515/9789048550005-007","DOIUrl":"https://doi.org/10.1515/9789048550005-007","url":null,"abstract":"","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125258309","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}
The film analytical chapter moves along the lines of different key moments of the sublime: the Sublime as somatic excess, subjectivity, transcendence, modality, presentability, the geological sublime, the sublime and the ridiculous, as well as sublime hyperobjects and the ecological sublime. The primary analytical tool applied are Edmund Burke and Immanuel Kant’s theoretical models of the sublime. The application of these eighteenth-century theorems for the analysis of twentieth and twenty-first-century motion pictures is solely justified through their shared historical foundation. This historical account takes into view the broader cultural horizon of the sublime, encompassing aesthetic thought, art historical iconographies, media technologies, aesthetic receptive conventions and strategies, scientific, economic, and cultural discourses, as well as general concepts of man’s relation to nature’s forces.
{"title":"The Sublime in Disaster Cinema","authors":"Nikita Mathias","doi":"10.2307/j.ctv15d7zv1.9","DOIUrl":"https://doi.org/10.2307/j.ctv15d7zv1.9","url":null,"abstract":"The film analytical chapter moves along the lines of different key moments\u0000 of the sublime: the Sublime as somatic excess, subjectivity, transcendence,\u0000 modality, presentability, the geological sublime, the sublime\u0000 and the ridiculous, as well as sublime hyperobjects and the ecological\u0000 sublime. The primary analytical tool applied are Edmund Burke and\u0000 Immanuel Kant’s theoretical models of the sublime. The application of\u0000 these eighteenth-century theorems for the analysis of twentieth and\u0000 twenty-first-century motion pictures is solely justified through their\u0000 shared historical foundation. This historical account takes into view the\u0000 broader cultural horizon of the sublime, encompassing aesthetic thought,\u0000 art historical iconographies, media technologies, aesthetic receptive\u0000 conventions and strategies, scientific, economic, and cultural discourses,\u0000 as well as general concepts of man’s relation to nature’s forces.","PeriodicalId":149232,"journal":{"name":"Disaster Cinema in Historical Perspective","volume":"85 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":"133496369","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}
This chapter sets out to describe the establishment of the iconography of the sublime by focusing on three central motifs: the shipwreck, the hostility of mountain summits, and the volcano eruption. I first analyze a shipwreck painting by Joseph Vernet in relation to Denis Diderot’s writings and the particularities of the picture’s exhibition at the Paris Academy Salon. Then, the Alpine landscapes of the Swiss painter Caspar Wolf and their oscillation between academic traditions, vedute painting conventions, sublime imagery, and geological accuracy is analyzed by example of the painting Lower Grindelwald Glacier with Lightning. The motif of the volcano eruption is addressed through a group of paintings, whose interplay makes visible a variety of complications inherent to the sublime. The discussed artworks depicting the three motifs feature intrinsic – that is stylistic and formal – innovations that seek to intensify the pictorial experience of their sublime content matters.
{"title":"The Iconography of the Sublime","authors":"Nikita Mathias","doi":"10.2307/j.ctv15d7zv1.5","DOIUrl":"https://doi.org/10.2307/j.ctv15d7zv1.5","url":null,"abstract":"This chapter sets out to describe the establishment of the iconography\u0000 of the sublime by focusing on three central motifs: the shipwreck, the\u0000 hostility of mountain summits, and the volcano eruption. I first analyze\u0000 a shipwreck painting by Joseph Vernet in relation to Denis Diderot’s\u0000 writings and the particularities of the picture’s exhibition at the Paris\u0000 Academy Salon. Then, the Alpine landscapes of the Swiss painter Caspar\u0000 Wolf and their oscillation between academic traditions, vedute painting\u0000 conventions, sublime imagery, and geological accuracy is analyzed by\u0000 example of the painting Lower Grindelwald Glacier with Lightning. The\u0000 motif of the volcano eruption is addressed through a group of paintings,\u0000 whose interplay makes visible a variety of complications inherent to\u0000 the sublime. The discussed artworks depicting the three motifs feature\u0000 intrinsic – that is stylistic and formal – innovations that seek to intensify\u0000 the pictorial experience of their sublime content matters.","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":"131369895","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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