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The Sublime in Disaster Cinema

The film analytical chapter moves along the lines of different key moments
 of the sublime: the Sublime as somatic excess, subjectivity, transcendence,
 modality, presentability, the geological sublime, the sublime
 and the ridiculous, as well as sublime hyperobjects and the ecological
 sublime. The primary analytical tool applied are Edmund Burke and
 Immanuel Kant’s theoretical models of the sublime. The application of
 these eighteenth-century theorems for the analysis of twentieth and
 twenty-first-century motion pictures is solely justified through their
 shared historical foundation. This historical account takes into view the
 broader cultural horizon of the sublime, encompassing aesthetic thought,
 art historical iconographies, media technologies, aesthetic receptive
 conventions and strategies, scientific, economic, and cultural discourses,
 as well as general concepts of man’s relation to nature’s forces.