<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>The study aims at investigating the phenomenon of crisis in the intersection of three areas: simulation, singularity and temporality. The argument develops a theory of the singular crisis whose instances are demonstrated and proved by the American thriller, <italic>Take Shelter</italic> (2011, Jeff Nichols). The applied concept of crisis is based on the argument that any critical period is treated by models derived from earlier crises. The theoretical background to the simulated operating mechanisms of the crisis is Jean Baudrillard’s and Gilles Deleuze’s appropriations of simulation and simulacra. In case the simulated problem-solving patterns fail in a critical period, the singular characteristics of the crisis can be observed. Based on examples taken from the film, the article argues that reaction to any given crisis is essentially built up by both hyperreal patterns governed by simulation and singular elements that simulation cannot account for. The description of the temporal nature of crises is heavily dependent on interpretation, thus their temporal span is observed from the vantage point of their singular characteristics. The study argues that crises are characteristically open-ended but their endpoint is predominantly designated in hindsight to render the crisis as a finished time period for the sake of manageability.</p>
</abstract>

The study aims at investigating the phenomenon of crisis in the intersection of three areas: simulation, singularity and temporality. The argument develops a theory of the singular crisis whose instances are demonstrated and proved by the American thriller, Take Shelter (2011, Jeff Nichols). The applied concept of crisis is based on the argument that any critical period is treated by models derived from earlier crises. The theoretical background to the simulated operating mechanisms of the crisis is Jean Baudrillard’s and Gilles Deleuze’s appropriations of simulation and simulacra. In case the simulated problem-solving patterns fail in a critical period, the singular characteristics of the crisis can be observed. Based on examples taken from the film, the article argues that reaction to any given crisis is essentially built up by both hyperreal patterns governed by simulation and singular elements that simulation cannot account for. The description of the temporal nature of crises is heavily dependent on interpretation, thus their temporal span is observed from the vantage point of their singular characteristics. The study argues that crises are characteristically open-ended but their endpoint is predominantly designated in hindsight to render the crisis as a finished time period for the sake of manageability.

Singularity and the Open-Ended Crisis

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

{"article-title":"Singularity and the Open-Ended Crisis"}

The study aims at investigating the phenomenon of crisis in the intersection of three areas: simulation, singularity and temporality. The argument develops a...

Singularity and the Open-Ended Crisis

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 171 - 183

DOI: https://doi.org/10.2478/ausfm-2022-0007

Schlüsselwörter
singularity, crisis, simulation, open-endedness, thriller

© 2022 Norbert Gyuris, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Singularity and the Open-Ended Crisis

Online veröffentlicht: 05. Aug. 2022

Seitenbereich: 171 - 183

DOI: https://doi.org/10.2478/ausfm-2022-0007

Schlüsselwörtersingularity, crisis, simulation, open-endedness, thriller

© 2022 Norbert Gyuris, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Schlüsselwörter
singularity, crisis, simulation, open-endedness, thriller