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9781472436726

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'How do images of blood and gore work in American cinema? In this book, Kjetil Rodje discusses, not so much what bloody images mean, as what they do: how they move and perturb us, and why we keep on coming back for more. This book makes a major contribution to affect theory, to film studies, and to the ever-perplexing question of how our culture profoundly changed over the course of that unsettled decade, the 1960s.' Steven Shaviro, Wayne State University, USA 'Movie blood, Kjetil Rodje shows, is an assemblage: at once a cinematic image, a material product of inventive special-effects technicians, and an effect in the bodies and minds of audiences. In demonstrating how, over two decades, blood in movies metamorphosed from a sign to an affect, Rodje's lively and well-researched book makes a strong contribution to media studies, theory of affect, and interdisciplinary methodology.' Laura U. Marks, Simon Fraser University, Canada

'How do images of blood and gore work in American cinema? In this book, Kjetil RAdje discusses, not so much what bloody images mean, as what they do: how they move and perturb us, and why we keep on coming back for more. This book makes a major contribution to affect theory, to film studies, and to the ever-perplexing question of how our culture profoundly changed over the course of that unsettled decade, the 1960s.' Steven Shaviro, Wayne State University, USA 'Movie blood, Kjetil RAdje shows, is an assemblage: at once a cinematic image, a material product of inventive special-effects technicians, and an effect in the bodies and minds of audiences. In demonstrating how, over two decades, blood in movies metamorphosed from a sign to an affect, RAdje's lively and well-researched book makes a strong contribution to media studies, theory of affect, and interdisciplinary methodology.' Laura U. Marks, Simon Fraser University, Canada

Author Information

Kjetil Rodje is Postdoctoral Fellow in the Department of Media, Cognition and Communication at the University of Copenhagen, Denmark. He is the co-editor of Deleuzian Intersections: Science, Technology and Anthropology (Berghan, 2009).

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