MONSTRUM Issue 3.2 (January 2021) | ISSN 2561-5629 Book Review Affective Intensities and Evolving Horror Forms: From Found Footage to Virtual Reality By Adam Daniel Edinburgh University Press, 2020 232pp. Affective Intensities and Evolving Horror Forms: From Found Footage to Virtual Reality is an expansive and lively exploration into affective intensities and embodied experience in relation to emergent horror media forms. A central issue that Adam Daniel addresses is how theories of affect seem to spark conjecture of a brain/body binary, which lends Daniel a way of opening up discourse on embodiment theory, neuroscience, and Deleuzian film-philosophy. Daniel productively invokes Brian Massumi on affect. Affect and its qualification as emotion in Massumi’s sense are separated by the codif ication of the intensities of affect (Massumi 2002, 28). However, the misconception is thus that cognition, and therefore language, occurs secondarily to affect. More specifically, this is in how we understand the relationship between intensities and language. A difficulty, I think, in conceptualizing the encounter with intensities of affect, is working out where cognition fits in the spectatorial experience. For Daniel, the affective spectator experience cannot be fully explained by a cognitive understanding of the film text (Daniel 2020, 2). In Chapter 1, Daniel reviews the cognitivist film theory of Noël Carroll, Murray Smith, Torben Grodal, David Bordwell, Greg Currie, and Carl Plantinga to argue how, when considering horror spectatorship, the formulation of the hierarchy between affect and cognition should be replaced by an understanding of the somatic interaction between film and viewer. Horror spectatorship, in this way, can be understood phenomenologically as a “dynamic entwinement of film-as-aesthetic-object and viewer-as- experiencing-subject” (Daniel 2020, 23). The behavior of horror’s affective intensities is most aptly found in Chapter 6 in Daniel’s reference to Steven Shaviro’s “articulation and composition of forces” (Shaviro 2010, 17); however, it is also interesting to note that the question of cognitive processes returns in Daniel’s book in his neuroscience studies of found footage horror