William Brown is a Senior Lecturer in Film at the University of Roehampton, London. He is the author of various books, including Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018) and Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013). He is also a maker of micro-budget films, including En Attendant Godard (2009), Selfie (2014) and This is Cinema (2019). David H. Fleming is a Senior Lecturer in the Communications, Media and Culture Division at the University of Stirling. He is the author of Unbecoming Cinema (2017) and co-author of Squid Cinema from Hell (2020, EUP) and Chinese Urban Shi-nema (2020). He is also co-editor of Cinema, Identities and Beyond (2009).

An excellent framework for how to look at cinema through a cephalopodic lens without giving in to the fetishizing impulse that the authors see as endemic to many fields dealing in the hybridization of human/object/ animal theories […] this text is especially useful in establishing an imaginative map of how to approach or engage with media in the winter of 2022, as the globe is deluged, over and over, with world-historic events that destabilize reality. Put differently, this is perhaps the best time for a text that destabilizes how we think of squid, cinema, time, being, and erotics to help imagine futures in an increasingly unstable world.

• AcknowledgmentsBeaky prepostface1. Introducing the End2. Pulp Fiction and the Media Archaeology of Space3. Encounters with a 4DX Kino-Kraken4. Actorly Squid/Sets and Cephalopod Realism5. The Erotic Ecstasy of Cthulhu6. Cosmic Light, Cosmic Darkness7. The Backwash of Becoming Cthulhu, Or, L∞py, Tentacular Time8. From the Modern Prometheus to the Modern Medusa

William Brown is a Senior Lecturer in Film at the University of Roehampton, London. He is the author of various books, including Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018) and Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013). He is also a maker of micro-budget films, including En Attendant Godard (2009), Selfie (2014) and This is Cinema (2019). David H. Fleming is a Senior Lecturer in the Communications, Media and Culture Division at the University of Stirling. He is the author of Unbecoming Cinema (2017) and co-author of Squid Cinema from Hell (2020, EUP) and Chinese Urban Shi-nema (2020). He is also co-editor of Cinema, Identities and Beyond (2009).

An excellent framework for how to look at cinema through a cephalopodic lens without giving in to the fetishizing impulse that the authors see as endemic to many fields dealing in the hybridization of human/object/ animal theories […] this text is especially useful in establishing an imaginative map of how to approach or engage with media in the winter of 2022, as the globe is deluged, over and over, with world-historic events that destabilize reality. Put differently, this is perhaps the best time for a text that destabilizes how we think of squid, cinema, time, being, and erotics to help imagine futures in an increasingly unstable world.

• AcknowledgmentsBeaky prepostface1. Introducing the End2. Pulp Fiction and the Media Archaeology of Space3. Encounters with a 4DX Kino-Kraken4. Actorly Squid/Sets and Cephalopod Realism5. The Erotic Ecstasy of Cthulhu6. Cosmic Light, Cosmic Darkness7. The Backwash of Becoming Cthulhu, Or, L∞py, Tentacular Time8. From the Modern Prometheus to the Modern Medusa

William Brown is a Senior Lecturer in Film at the University of Roehampton, London. He is the author of various books, including Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018) and Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013). He is also a maker of micro-budget films, including En Attendant Godard (2009), Selfie (2014) and This is Cinema (2019). David H. Fleming is a Senior Lecturer in the Communications, Media and Culture Division at the University of Stirling. He is the author of Unbecoming Cinema (2017) and co-author of Squid Cinema from Hell (2020, EUP) and Chinese Urban Shi-nema (2020). He is also co-editor of Cinema, Identities and Beyond (2009).

An excellent framework for how to look at cinema through a cephalopodic lens without giving in to the fetishizing impulse that the authors see as endemic to many fields dealing in the hybridization of human/object/ animal theories […] this text is especially useful in establishing an imaginative map of how to approach or engage with media in the winter of 2022, as the globe is deluged, over and over, with world-historic events that destabilize reality. Put differently, this is perhaps the best time for a text that destabilizes how we think of squid, cinema, time, being, and erotics to help imagine futures in an increasingly unstable world.

• AcknowledgmentsBeaky prepostface1. Introducing the End2. Pulp Fiction and the Media Archaeology of Space3. Encounters with a 4DX Kino-Kraken4. Actorly Squid/Sets and Cephalopod Realism5. The Erotic Ecstasy of Cthulhu6. Cosmic Light, Cosmic Darkness7. The Backwash of Becoming Cthulhu, Or, L∞py, Tentacular Time8. From the Modern Prometheus to the Modern Medusa