Elena del Río is Professor Emerita of Film Studies at the University of Alberta, Canada. Her essays on the intersections between cinema and philosophies of the body in the areas of technology, performance, and affect have been featured in journals such as Alphaville, Angelaki, Camera Obscura, Canadian Journal of Film Studies, Deleuze Studies, Discourse, Film-Philosophy, Image and Narrative, Necsus, The New Review of Film and Television Studies, Quarterly Review of Film and Video, Science Fiction Studies, Studies in French Cinema, and SubStance. She has also contributed to numerous edited volumes on the films of Atom Egoyan, Michael Haneke, and Rainer Fassbinder, and on topics such as Asian exploitation film, cinema and cruelty, the philosophy of film and new media, film noir, film phenomenologies, and Deleuze and cinema. She is the author of The Grace of Destruction: A Vital Ethology of Extreme Cinemas (Bloomsbury, 2016) and Deleuze and the Cinemas of Performance: Powers of Affection (Edinburgh University Press, 2008).
Reading Viola and Simondon together, del Río formulates two bold and marvelous propositions: video (and by extension, cinema) belongs to nature, and the camera is a philosophical system. Her book lives up to the challenge of these propositions, offering luminous readings of Viola video works while upending received understandings of nature and culture, technology and biology. -- Thomas Lamarre, The University of Chicago Bill Viola’s video works give a sense of being in the presence of an ever-expanding infinite—as in his works where imperceptibly slow movement, rather than grasping the visible world, renders the field of vision even more infinite. While Viola’s great body of work is often interpreted as religious or mystical, Elena del Rio argues convincingly that the infinite presence palpable in his work is an infinity immanent to this world: an ever-changing individuation in rhythm with the humans, machines, and other entities that compose it. -- Laura U. Marks, Simon Fraser University