All posts tagged: affect

The Monster Has Kind Eyes: Intimacy and Frustration in The Last Guardian

By Kaelan Doyle-Myerscough The Last Guardian is a 2016 single-player adventure game that follows the relationship between an unnamed young boy and a giant gryphon-like creature, referred to as Trico, as they navigate the ruins of an ancient, apparently technologically-advanced civilization.1 The player controls the boy, who is small and weak—he is incapable of fighting the ghostly suits of armor that he and Trico encounter throughout the game, and he often cannot physically traverse the massive, vertical ruins in which the game takes place without falling or stumbling. Meanwhile, Trico, who accompanies the boy, protects him from danger and is essentially impervious to harm; however, Trico is vulnerable to hunger, distraction, fear, and to the lingering effects of traumas it has apparently suffered at the hands of something in the ruins. The boy and Trico, neither fully able to traverse the space they find themselves in, must work together to locate food, overcome obstacles, and defeat enemies. Critical and audience responses to The Last Guardian were mixed: though the game was praised for its map …

Socialist Senses: Film, Feeling, and The Soviet Subject, 1917-1940

Reviewed by Raymond DeLuca, Harvard University. Emma Widdis. Socialist Senses: Film, Feeling, and The Soviet Subject, 1917-1940. Indiana: Indiana University Press, 2017. 407 pp.  In Socialist Senses: Film, Feeling, and the Soviet Subject, 1917-1940, Emma Widdis offers a groundbreaking history of early Soviet cinema. The October Revolution, Widdis argues, inspired a radical, albeit undertheorized, cultural project of transforming human sensory experience. Cinema, moreover, became an important medium of this sensorial revolution. The moving image could simultaneously depict reimagined sensory encounters onscreen and, what’s more, could emotionally, psychologically, and physically make itself felt on its spectators. Film, then, helped transform Soviet citizens’ relationship to their material world. Drawing on a wide array of films, Widdis reveals how this sensory project, beginning with the 1920s avant-garde, evolved from one of transforming external sensations (i.e., touch, sight) to one of reeducating internal sensations (i.e., emotions, feelings) under the Stalinist doctrine of Socialist Realism. In Chapter One, “Avant-Garde Sensations,” Widdis recounts the origins of the Soviet avant-garde’s preoccupation with the material and textural qualities of artistic production, what, in …

Affecting Activist Art: Inside KillJoy’s Kastle, A Lesbian Feminist Haunted House

By Genevieve Flavelle Photo credit: Allyson Mitchell, Lesbian Rule, 2013. Courtesy of the Artist. On a warm fall evening in 2015 a lesbian feminist entity known as KillJoy opened her fang bearing mouth in the center of Los Angeles’s Plummer Park. Inviting audiences into her inner sanctum, the maligned matriarch elicited delight, horror, fear, sentimentality, laughter, and reverence for lesbian feminist herstories1 Viewers grouped together in line with friends, or perhaps friendly strangers, awaiting their turn to experience the novelty of a Lesbian Feminist Haunted House. Reaching the front of the line, visitors’ introduction to KillJoy’s Kastle was brusque as Valerie Solanas was back from the dead and working the door!2 Brandishing her infamous S.C.U.M. Manifesto, a ghoulish Solanas instructed groups that what they were about to experience would not be “part of the ordinary.” As a group was being informed about nudity and instructed not to take flash photography, I joined in time to be advised that the “KillJoy’s Kastle is best viewed by the light of your pussy—if you have one.” I quickly explained, as I …