Новое литературное обозрение
Утопия «Черной Атлантиды». Афрофутуризм и электронная музыка
Теоретик Евгений Былина — о дистопическом саунде детройт-техно и афрофутуристкой мифологии подводного государства Drexciya как инструментах деколонизации времени и производства новой субъективности
Пространство и письмо: исследование антропоцена
Евразийская underground-библиотека: заметки о ее формировании
Максим Шер4K🔥
«Евразия» как концепт, противостоящий объективности и связанной с ней претензией на полноту, всезнайство и, следовательно, доминирование
Art
Возвращение к первоприроде женщины.Thierry Mugler
Биография французского модельера и парфюмера и фрагменты интервью — о СПИДе, фантазии, технологиях и будущем
Cinema and Video
Murder-Set-Pieces asap
artur.sumarokov2.6K🔥
“Murder-Set-Pieces” in its variations encapsulates the spectrum of horror—from tame entertainment to boundary-pushing art
Cinema and Video
The Ontological Violence of The Benefactress: What Kind of Being Does This Film Have?
artur.sumarokov2.1K🔥
If André Bazin once dreamed of a “myth of total cinema” in which the image would finally coincide perfectly with reality, *The Benefactress* is the nightmare fulfilment of that myth.
Sex, violence and Harmony Korine
artur.sumarokov1.4K🔥
“Trash Humpers” isn’t for everyone—it’s a endurance test, a mirror to our darker selves.
Cinema and Video
Queer Necrophilia: Transgression and Desire in Jörg Buttgereit's Nekromantik Dilogy
Traditional horror punishes transgression; here, necrophiles are protagonists, their desires centralized rather than vilified.
The Abyss Stares Back: Existential Despair, Horror, and Violence in the Cinema of Khavn de la Cruz
Through his transgressive lens, Philippine cinema becomes a universal mirror, compelling us to confront what it means to exist—and to persist—in the face of the void.
The Beautiful and the Abject: A Philosophical Analysis of Marian Dora’s Underground Horror Cinema and Nihilist Worlds
To dismiss Dora’s cinema as merely “sick” or “depraved” is to miss the point, and perhaps to engage in the very moral comfort that his films are designed to destroy.
