Catherine Wheatley, author of Stanley Cavell and Film: Scepticism and Self-Reliance at the Cinema:
In clear, eminently readable prose, Warner challenges the well-worn Hitchcockian model of suspense. His meticulous readings break down divisions between art-house and genre film, expanding our understanding of not only suspense and its affects but also the film medium itself. This book is a vital and long-overdue contribution to film theory.

Saige Walton, author of Cinema's Baroque Flesh: Film, Phenomenology and the Art of Entanglement:
This beautifully written, richly nuanced book invites us to slow down: to feel the orchestration of suspense in its many forms. Through careful analyses of global art filmmakers (Chantal Akerman, David Lynch, Kiyoshi Kurosawa, Kelly Reichardt, and Apichatpong Weerasethakul, to name a few), Warner makes an invaluable contribution to contemporary film theory and burgeoning studies of atmosphere and environment.

Jordan Schonig, author of The Shape of Motion: Cinema and the Aesthetics of Movement:
Rick Warner offers a provocative rethinking of suspense that gives us a new way of seeing works of slow cinema—and the aesthetic of slowness more generally. His juxtaposition of suspense and slow cinema is both counterintuitive and elegant, opening a productive avenue of aesthetic exploration with originality and insight. Sophisticated but accessible, this is an exciting work of film scholarship.

Geoff King, author of Arthouse Crime Scenes: Art Film, Genre and Crime in Contemporary World Cinema:
The Rebirth of Suspense offers a lucid and original contribution to the study of both suspense in general and how it operates in varieties of slow cinema. Rick Warner adds significantly to our understanding of different dimensions of suspense and hybrid effects in cinema that complicate oppositions between mainstream and arthouse approaches.