Across a series of radical re-reappraisals of canonical postmodern texts, primarily films, from Fredric Jameson¿s Postmodernism to David Cronenberg¿s Crash and Harmony Korine¿s Gummo, Duncan shows that the same postmodern archive that has proven resistant to strongly subject-based and object-oriented emotions, like anger and sadness, proves all too congenial to the idiosyncratic, borderline emotions, from knowingness, fascination and bewilderment to boredom and euphoria, that the book takes as its critical objects.