Through schematizing some of the most current theoretical debates tackling the relation between representation and affect, the aim of this text is to demonstrate the uniqueness of Fincher’s Gone Girl (2014). In order to do this, the article performs a short narratological analysis which enables it to demonstrate that the specific of the film is to be found in the multiplication of representation which produces a state of surplus constituted not only by the traditional modernistic relation between the subject and the object (and representation), but also by postmodernist dedifferentiation. In this vein, the article’s thesis is that this particular state of surplus forms a distinctive situation in which Gone Girl does not function just at the level of semiotics, but also at the level of affect.

The integral (Slovenian) version of this article can be found in the printed KINO!