Eugenie Brinkema
Biographic Data
| ID | 1340028 |
|---|---|
| NAME | Eugenie Brinkema |
| GIVEN NAMES | Eugenie |
| FAMILY NAME | Brinkema |
| SIGNATURE | BRINKEMA E |
| AFFILIATIONS | a Department of Modern Culture and Media , Brown University , 155 George StreetBox 1957, Providence, RI 02912-1957, USA |
| VERIFIED | No |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 5 |
| WORKS AS AUTHOR | 16 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Isobel&Gillian&Julia&Hélène&Camille&Judith&Eve&me
This essay explores the curious manner in which Isobel Armstrong's The Radical Aesthetic was largely written out of the scholarship of the affective turn and the return to aesthetics, despite pronounced continuities between her work and subsequent scholarship. This essay argues that the primary reason for the neglect of Armstrong was due to her insistence on bringing together feminism and aesthetic critique as coimplicated philosophical projects …
The Enduring Problem
Fragments and Lies
This article considers the formal and critical consequences of organizing an aesthetic corpus around the philosophical concept of the fragment via a reading of Aryan Kaganof’s “Ten Monologues from the Lives of the Serial Killers” (1994). This experimental video sets spoken accounts from the perspective of the likes of Ted Bundy and Charles Manson alongside grainy, ambiguous imagery. Instead of thematic meditations on violence, the monologues circ…
Blindness and Description; Or, How to Read the Obvious
Jordan Peele's lauded film Get Out (2017) constitutes a serious aesthetic reckoning with what it means to help (make, force, compel) someone to "see what you see," postulating the intimacy of understanding and aggression in its navigation of an already-understood logic of racialized violence alongside the status of descriptions of photographic form within a cinematic regime. The film stages Roland Barthes's worry of the dangers of "a little bit o…
Responses to ‘“Anal” and “Sexual”’
The Violence of a Fascination with* a Visible Form (on Martyrs, Cruelty, Horror, Ethics) [*on and vs. with vs. as]
This essay argues that Pascal Laugier's 2008 new-extremist horror film Martyrs generates a formal violence coextensive with the aesthetic fascinations that structure it, rendering an account of violence that is monstrative and creative. Reversing theoretical presumptions that horror is a mixed sentiment comprised of fascination and disgust, or that horror names a fascination with violence, the essay positions Martyrs as part of an alternative phi…
Form for the blind (porn and description without guarantee)
This article reads the paradoxical, curious, and seemingly self-negating pornographic category known as ‘Described Video’ – focusing on PornHub’s growing archive of professional vocal transcriptions of conventional visual pornographic texts, which are described in great detail, in real time alongside the source video, ostensibly for the benefit of the visually impaired. Through a close reading of the way in which the formal language of each text …
Of Bodies, Changed to Different Bodies, Changed to Other Forms
This Afterword performs a close reading of the contributions of the special issue on ‘Cinematic Bodies’ in relation to their shared rethinking of a co-implicated relationship of embodiment to the cinematic, focusing on interpretive and methodological similarities and differences between the pieces. From a reading of Spinoza and Deleuze on the equivalent questions of what a body is and what a body can do, the Afterword considers how each of the co…
Violence and the Diagram; Or, The Human Centipede
Research Article| December 01 2016 Violence and the Diagram; Or, The Human Centipede Eugenie Brinkema Eugenie Brinkema Search for other works by this author on: This Site Google Qui Parle (2016) 24 (2): 75–108. https://doi.org/10.5250/quiparle.24.2.0075 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Eugenie Brinkema; Violence and the Diagram; Or, The Human Centipede. Qui Parle 1 December 2016; 24…
Introduction
Horror has historically been mired in the conceptual swamp of negative affect. Because its basal meaning refers to ‘a painful emotion compounded of loathing and fear’ (Oxford English Dictionary, 2007), the term has produced a circular scholarship that approaches its definition through spectator, viewer, user, and player feeling, finding therein only what the generic stamp has already proclaimed. As in Linda Williams’s (1991) taxonomy of ‘body gen…
Horror and Exploitation on VHS
This article announces a new collection of horror and exploitation movies on VHS at Yale University. A brief discussion of Breeders, a movie that Wizard Video released in 1986, demonstrates the type of research the collection is designed to support. Information on the collection’s scope and significance follows, indicating that the holdings also include a number of periodicals, which range from fan publications to industry magazines
Design Terminable and Interminable
The tautological, deterministic, elegantly straightforward premise of James Wong’s Final Destination franchise (2000–2011) supplants horror’s antagonistic monster with the certainty of death – the ineluctability of dying is what ultimately brings about deaths. The givenness of the violence of ontology is routed through formal schemas of design, list, plan, and schematic, and paranoically interpreted in relation to signs auguring the approach of a…
Critique of Silence
This article posits an absolute difference between the regime of silence and the regime of near inaudibility. The regime of silence pivots equally on avowals of the possibility of sound's absence and on negated versions, such as John Cage's declaration, "There is no such thing as silence." I trace the appearance of this linking of silence to the metaphysical language of presence in the work of Cage, Foucault, and Derrida. My argument is that, whi…
Rot's Progress
What is the relationship between a cinematic grid of color and the most visceral of the negative affects, disgust? The history of "good taste"-from the philosophical subdiscipline of aesthetics to French haute cuisine-banishes and simultaneously cultivates all things that taste bad and are in bad taste. Reading the phenomenologist Aurel Kolnai with the gastronome Anthelme Brillat-Savarin, this article explores how rot and decay, the negative of t…
To cut, to split, to touch, to eat, as of a body or a text
We shall therefore star the text, separating, in the manner of a minor earthquake, the blocks of signification of which reading grasps only the smooth surface ... Roland Barthes, S/Z, An Essay 13 Yes
Celluloid is Sticky
Rape and the Rectum
Research Article| May 01 2005 Rape and the Rectum: Bersani, Deleuze, Noé Eugenie Brinkema Eugenie Brinkema Search for other works by this author on: This Site Google Camera Obscura (2005) 20 (1 (58)): 33–57. https://doi.org/10.1215/02705346-20-1_58-33 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Eugenie Brinkema; Rape and the Rectum: Bersani, Deleuze, Noé. Camera Obscura 1 May 2005; 20 (1 (58)): 33–57. doi: https://doi…
Form for the blind (porn and description without guarantee)
This article reads the paradoxical, curious, and seemingly self-negating pornographic category known as ‘Described Video’ – focusing on PornHub’s growing archive of professional vocal transcriptions of conventional visual pornographic texts, which are described in great detail, in real time alongside the source video, ostensibly for the benefit of the visually impaired. Through a close reading of the way in which the formal language of each text …
Critique of Silence
This article posits an absolute difference between the regime of silence and the regime of near inaudibility. The regime of silence pivots equally on avowals of the possibility of sound's absence and on negated versions, such as John Cage's declaration, "There is no such thing as silence." I trace the appearance of this linking of silence to the metaphysical language of presence in the work of Cage, Foucault, and Derrida. My argument is that, whi…
Celluloid is Sticky
Rape and the Rectum
Research Article| May 01 2005 Rape and the Rectum: Bersani, Deleuze, Noé Eugenie Brinkema Eugenie Brinkema Search for other works by this author on: This Site Google Camera Obscura (2005) 20 (1 (58)): 33–57. https://doi.org/10.1215/02705346-20-1_58-33 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Eugenie Brinkema; Rape and the Rectum: Bersani, Deleuze, Noé. Camera Obscura 1 May 2005; 20 (1 (58)): 33–57. doi: https://doi…
Rape and the Rectum
Research Article| May 01 2005 Rape and the Rectum: Bersani, Deleuze, Noé Eugenie Brinkema Eugenie Brinkema Search for other works by this author on: This Site Google Camera Obscura (2005) 20 (1 (58)): 33–57. https://doi.org/10.1215/02705346-20-1_58-33 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Eugenie Brinkema; Rape and the Rectum: Bersani, Deleuze, Noé. Camera Obscura 1 May 2005; 20 (1 (58)): 33–57. doi: https://doi…
Celluloid is Sticky
To cut, to split, to touch, to eat, as of a body or a text
We shall therefore star the text, separating, in the manner of a minor earthquake, the blocks of signification of which reading grasps only the smooth surface ... Roland Barthes, S/Z, An Essay 13 Yes
Rot's Progress
What is the relationship between a cinematic grid of color and the most visceral of the negative affects, disgust? The history of "good taste"-from the philosophical subdiscipline of aesthetics to French haute cuisine-banishes and simultaneously cultivates all things that taste bad and are in bad taste. Reading the phenomenologist Aurel Kolnai with the gastronome Anthelme Brillat-Savarin, this article explores how rot and decay, the negative of t…
Critique of Silence
This article posits an absolute difference between the regime of silence and the regime of near inaudibility. The regime of silence pivots equally on avowals of the possibility of sound's absence and on negated versions, such as John Cage's declaration, "There is no such thing as silence." I trace the appearance of this linking of silence to the metaphysical language of presence in the work of Cage, Foucault, and Derrida. My argument is that, whi…
Introduction
Horror has historically been mired in the conceptual swamp of negative affect. Because its basal meaning refers to ‘a painful emotion compounded of loathing and fear’ (Oxford English Dictionary, 2007), the term has produced a circular scholarship that approaches its definition through spectator, viewer, user, and player feeling, finding therein only what the generic stamp has already proclaimed. As in Linda Williams’s (1991) taxonomy of ‘body gen…
Horror and Exploitation on VHS
This article announces a new collection of horror and exploitation movies on VHS at Yale University. A brief discussion of Breeders, a movie that Wizard Video released in 1986, demonstrates the type of research the collection is designed to support. Information on the collection’s scope and significance follows, indicating that the holdings also include a number of periodicals, which range from fan publications to industry magazines
Design Terminable and Interminable
The tautological, deterministic, elegantly straightforward premise of James Wong’s Final Destination franchise (2000–2011) supplants horror’s antagonistic monster with the certainty of death – the ineluctability of dying is what ultimately brings about deaths. The givenness of the violence of ontology is routed through formal schemas of design, list, plan, and schematic, and paranoically interpreted in relation to signs auguring the approach of a…
Violence and the Diagram; Or, The Human Centipede
Research Article| December 01 2016 Violence and the Diagram; Or, The Human Centipede Eugenie Brinkema Eugenie Brinkema Search for other works by this author on: This Site Google Qui Parle (2016) 24 (2): 75–108. https://doi.org/10.5250/quiparle.24.2.0075 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Eugenie Brinkema; Violence and the Diagram; Or, The Human Centipede. Qui Parle 1 December 2016; 24…
Of Bodies, Changed to Different Bodies, Changed to Other Forms
This Afterword performs a close reading of the contributions of the special issue on ‘Cinematic Bodies’ in relation to their shared rethinking of a co-implicated relationship of embodiment to the cinematic, focusing on interpretive and methodological similarities and differences between the pieces. From a reading of Spinoza and Deleuze on the equivalent questions of what a body is and what a body can do, the Afterword considers how each of the co…
Form for the blind (porn and description without guarantee)
This article reads the paradoxical, curious, and seemingly self-negating pornographic category known as ‘Described Video’ – focusing on PornHub’s growing archive of professional vocal transcriptions of conventional visual pornographic texts, which are described in great detail, in real time alongside the source video, ostensibly for the benefit of the visually impaired. Through a close reading of the way in which the formal language of each text …
The Violence of a Fascination with* a Visible Form (on Martyrs, Cruelty, Horror, Ethics) [*on and vs. with vs. as]
This essay argues that Pascal Laugier's 2008 new-extremist horror film Martyrs generates a formal violence coextensive with the aesthetic fascinations that structure it, rendering an account of violence that is monstrative and creative. Reversing theoretical presumptions that horror is a mixed sentiment comprised of fascination and disgust, or that horror names a fascination with violence, the essay positions Martyrs as part of an alternative phi…
Responses to ‘“Anal” and “Sexual”’
Fragments and Lies
This article considers the formal and critical consequences of organizing an aesthetic corpus around the philosophical concept of the fragment via a reading of Aryan Kaganof’s “Ten Monologues from the Lives of the Serial Killers” (1994). This experimental video sets spoken accounts from the perspective of the likes of Ted Bundy and Charles Manson alongside grainy, ambiguous imagery. Instead of thematic meditations on violence, the monologues circ…
Blindness and Description; Or, How to Read the Obvious
Jordan Peele's lauded film Get Out (2017) constitutes a serious aesthetic reckoning with what it means to help (make, force, compel) someone to "see what you see," postulating the intimacy of understanding and aggression in its navigation of an already-understood logic of racialized violence alongside the status of descriptions of photographic form within a cinematic regime. The film stages Roland Barthes's worry of the dangers of "a little bit o…
Isobel&Gillian&Julia&Hélène&Camille&Judith&Eve&me
This essay explores the curious manner in which Isobel Armstrong's The Radical Aesthetic was largely written out of the scholarship of the affective turn and the return to aesthetics, despite pronounced continuities between her work and subsequent scholarship. This essay argues that the primary reason for the neglect of Armstrong was due to her insistence on bringing together feminism and aesthetic critique as coimplicated philosophical projects …
The Enduring Problem
Art (11 works) · Computer Science (8 works) · Cinema and Media Studies (7 works) · Psychology (7 works) · Aesthetics (6 works) · Literature (6 works) · Sociology (6 works) · Gothic Literature and Media Analysis (5 works) · Philosophy (5 works) · Art history (4 works)