In Discorrelated Images Shane Denson examines how computer-generated digital images displace and transform the traditional spatial and temporal relationships that viewers had with conventional analog forms of cinema. Denson analyzes works ranging from the Transformers series and Blade Runner 2049 to videogames and multimedia installations to show how what he calls discorrelated images—images that do not correlate with the abilities and limits of human perception—produce new subjectivities, affects, and potentials for perception and action. Denson's theorization suggests that new media theory and its focus on technological development must now be inseparable from film and cinema theory. There's more at stake in understanding discorrelated images, Denson contends, than just a reshaping of cinema, the development of new technical imaging processes, and the evolution of film and media studies: discorrelated images herald a transformation of subjectivity itself and are essential to our ability to comprehend nonhuman agency.

Shane Denson is Associate Professor of Film and Media Studies at Stanford University and author of Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface.

Acknowledgments  ix
Introduction. Discorrelation and Post-cinema  1
Part I. Theorizing Discorrelation
1. Crazy Cameras  21
2. Dividuated Images  51
3. Screen Time  73
Part II. Making Sense of Discorrelation
4. Life to Those Pixels!  113
5. The Horrors of Discorrelation  153
6. Post-cinema after Extinction  193
Notes  237
Bibliography  277
Index  293