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« Ultimately, there are two significant implications in understanding Wakening as ecohorror of dynamic temporality. First, such a reading continues the important work of revisioning the theoretical and critical boundaries of Western cinema. Goulet's play with audiences' expectations of horror's invitations to the weird challenge us all to recalibrate our sense of generic cinematic representation and its purpose. Relatedly, such readings highlight film's politics of emotion, its ability to generate 'affective alliances' that can potentially help us all reimagine our temporal and spatial engagements with the world at large. Such reimaginations are speculative windows into other ways of being, living, and sustaining healthy relations with the world. They are invitations to decolonize and thus heal the damage that has and is being wrought to human and nonhuman alike through neocolonial occupations that power climate change's accelerating catastrophes. »
-- Salma Monani

Source :
MONANI, Salma. « Feeling and Healing Eco-social Catastrophe: The 'Horrific' Slipstream of Danis Goulet's Wakening », Paradoxa, vol. 28 (2016). (p. 194) [en anglais]