Cover
Table of Contents
1. Introduction
Theories of the Sublime: Edmund Burke and Immanuel Kant
The Archeology and Iconography of the Sublime
Analyzing Disaster Movies
The Disaster Movie Genre and the Film Selection
2. Starting Points
Dutch Landscapes of the North
Transforming the Sublime. From Rhetoric to Experiencing Nature
Picturesque Views
Lisbon Shock Waves
Heroic Geology
Commodifying Nature. Earth Economics and Tourism
Virtual Windows. Claude Joseph Vernet at the Academy Salon
Remarkable Views. Caspar Wolf in the Alps
Volcano Montages: Derby, Valenciennes, Wutky, Volaire, Briullov
Between Art Academy and Entertainment Culture: Philippe Jacques de Loutherbourg
Apocalypse Here-and-Now. John Martin
‘The Viewer Feels as Though His Eyelids Had Been Cut Off’. Visiting the Panorama
Panoramic Landscapes Through the Telescope: The Hudson River School
Nature’s Forces in Motion: The Diorama
5. Cinema – A Medium of the Sublime?
Photographic Images in Motion
Is the Sublime a Somatic Experience?
Montage
Camera
Sound and Multimedia
Cinema
6. Disaster Cinema. A Historical Overview
Disaster Films Between Documentary and Special Effects Newsreel
Early Epics and Travel Genres
Disaster Melodramas
Disaster Diversity: the 1950s and 1960s
‘Disaster Movies’ and Nuclear Wastelands
Digitally Painted Disasters
7. The Sublime in Disaster Cinema
Patterns of Violence, or, The Sublime as Somatic Excess
1. Mise en images
2. Montage
3. Camera Movement
4. Sound
Points of Disinterest: Subjectivity
Beyond Imagination: Transcendence
1. Chasing Phantoms. The Disaster-Time-Image
2. Last Line of Defense. Ethics
3. ‘Hear God Howl’ – Religion and Spirituality
Modality, or, The Pleasure of the Sublime
Border Conflicts. Presentability
‘It Is Gonna Send Us Back to the Stone Age!’ – The Geological Sublime
Neighbor Relations: The Sublime and the Ridiculous
What Lies Ahead? Hyperobjects and the Sublime
Bibliography
Index