Steen Ledet Christiansen

Mediating Potency and Fear: Action Movies’ Affect

ABSTRACT Action movies participate in the administration of fear [Virilio, P., 2012. The administration of fear. Translated by Ames Hodges. Los Angeles, CA: Semiotext(e)], and the networked affects of contemporary warfare [Anderson, B., 2013. Targeting affective life from above: morale and airpower. In: P. Adey, M. Whitehead, and A.J. Williams, eds. From above: war, violence and verticality. London: Hurst & Company]. Through a sensory assault of intense bass soundtracks, kinetic camera movements, and intense CGI effects action movies work to produce what Steven Shaviro has termed ‘intensity effects’ [Shaviro, S., 2010. Post-cinematic affect. Winchester: Zero Books]. These intensity effects mediate between the age of terrors ecology of fear [Massumi, Brian, 2002. Parables for the virtual: movement, affect, sensation. Durham: Duke University Press] and our bodies. Rather than producing fear, action movies work to dispel fear by producing potency and bolstering resolve. We can thus understand action movies as participating in the biopolitical effects of contemporary warfare. Affect is globalized and intensified through action movies’ aesthetics, with the aim of producing a kind of drone subject. Robin James significantly posits a drone atmosphere where our perceptual limit reconfigures through ‘droning’ – the creation of an affective timbre [James, R., 2013. Drones, sound, and super-panoptic surveillance. Cyborgology]. As James argues, ‘[d]roning rivets you to material conditions, affects, and sensations that compel you to behave in specific ways, and not in others’ (n.p.). So while drones currently work overseas to target morale, action movies work on the home front to target our potency and resolve and so engender a mode of sensation that also functions as action. Affect works as a translator, where sensation is displaced into the feeling of having acted. In having acted, we are led to believe that we are safe from fear, which can be understood as a pharmakon. We are kept safe by action movies’ mediation of potency and fear.

Written in Skin: SuicideGirls

Suicidegirls.com is a website which is both an online community, but also a softcore pin-up site, where the models feature extensive body modifications in the form of tattoos and piercings. The website promotes a democratic approach to the photo shoots, as the models remain in control, not the photographer. Marked by their body modifications, the Suicide Girls (as they call themselves), they actively attempt to subvert the typical pin-up conventions, by transgressing mainstream standards of beauty. In what seems remarkably similar to Judith Butlers account of subversive bodily acts, the pin-up shoots of the Suicide Girls mount a critique of a cultures view of the body as a natural entity. Cultural borders are crossed, as the bodies of the Suicide Girls embed ink into their bodies in the form of tattoos, and gender is played as a subversive game against the expectations of pin-up conventions. Acting as different and impure bodies, the Suicide Girls represent a threat to conventional conceptions of the body.