I recently rewatched the horror classic Hellraiser (1987), and as well as finding it better on the second watch, I was fascinated with its portrayal of the ‘ecstasy of agony’ or the ‘agony of ecstasy’ (which we could also call ‘ecstatic agony’). I’m currently working on a book on the subject of ecstasy, and despite…
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Part of the appeal of horror films – which is underappreciated, I think – is their capacity to evoke the sublime. This is a curious and complex emotion. It’s a mixture of fear and fascination. It involves feeling simultaneously nervous or threatened by some perceptual phenomenon – because of its vastness or power – and…
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This is a guest post by Inger Cini. The philosophers Alain Badiou and Slavoj Žižek have provided contrasting perspectives on cinema. In this essay, I would like to comment on the similarities and differences in their thought under three main headings: how to read cinema, ideology in cinema, and the truth in cinema. Whilst Žižek…
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On 10th June, French metal band Mirar released a six-track EP titled Mare. This EP, and the band in general, falls into the metal genre ‘thall’, which combines elements of progressive metal, death metal, and mathcore. Thall is an offshoot of djent and originated with Vildhjarta, who started using the term in 2011; the genre…
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The Arrival (2006) by Shaun Tan is a wordless graphic novel (which can be read here) that tells the story of an immigrant’s life in an imaginary world. It consists of small, medium, and large panels – as well as pages of full artwork – depicting a world that sometimes resembles our own but which…
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