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Genre Trouble and Extreme Cinema


Genre Trouble and Extreme Cinema

Film Theory at the Fringes of Contemporary Art Cinema

von: Troy Bordun

89,99 €

Verlag: Palgrave Macmillan
Format: PDF
Veröffentl.: 10.11.2017
ISBN/EAN: 9783319658940
Sprache: englisch

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Beschreibungen

This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand generic classifications. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell, Vivian Sobchack, Laura U. Marks, and Eugenie Brinkema.
1. Introduction: Genre Trouble and Extreme Cinema.- 2. Carlos Reygadas, the Avant-Garde, and the Senses.- 3. !Que Viva Mexico!: Reygadas as Documentarian.- 4. I Don’t Know It When I See it: Catherine Breillat’s Pornography.- 5. Horrible Pornography: Fat Girl (À ma soeur!, 2001).- 6. Onscreen and Off-screen Flesh and Blood: Performance, Pornography, Ethics.- 7. Reframing Spectatorship Theory with Extreme Cinema.- 8. Conclusion: Know Genre, No Trouble.
Troy Bordun is a contract instructor in Sociology and Cultural Studies at Trent University in Ontario, Canada.
This volume re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined ‘extreme cinema’. In Genre Trouble and Extreme Cinema, Bordun argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications. Through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. Bordun contends that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them in both personal and experiential terms. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. The author deploys contemporary film theories on the senses, both phenomenological and affect theory, and partakes in close readings of the films’ forms and narratives. The book thus adds to the present literature on extreme cinema and film theory, yet sets itself apart by fully deploying genre theory alongside the methodological and stylistic approaches of Stanley Cavell. 
Develops a novel approach to contemporary film theory by building a bridge between seemingly incompatible scholars and conceptsHighlights the significance of extreme cinema for film theory, genre theory, and film historyLinks the study of film theories of the senses to film genre theory, establishing new parallels between Linda Williams’s “body genres” and contemporary iterations of them, with particular attention paid to the burgeoning field of pornography studies
“Genre Trouble and Extreme Cinema is a fearless and writerly exploration of films that defy easy modes of generic classification—an impulse and a practice that too often diminishes the insights and effects of the films that we nevertheless want most to prize. Bordun takes us directly to the work itself and offers refreshingly nuanced readings of the films of Breillat and Reygadas. Through beautifully detailed close readings, Bordun shows us the films in all of their sophistication while teaching us something even greater: namely, how to regard our complexity. He is reminding us of the value of staying with the things we do not understand, how to resist our impulse to assimilate too quickly, too completely, what we do not yet comprehend—or think we cannot fathom—to what we think we already know. Is this not what we want serious art and serious criticism to do?” (Brian Price, University of Toronto, Canada)

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