To browse Academia. Skip to main content. Log In Sign Up. Tina Kendall. Tanya Horeck. SCMS brings together those who contribute to the study of film and media to facilitate scholarship and represent their professional interests, standards, and concerns.
Considering a broader tradition Dave Alexander is the Editor-in-Chief of Toronto-based, Tim Palmer is the author of Brutal Intimacy: Analyzing American film buff commissioned by a wealthy collector to of catharsis and entertainment through violence, Andrea horror-themed magazine Rue Morgue. Following that, Timothy a film programmer, award-winning filmmaker, published Chicago UP He is Associate Professor of Film Stud- into a murderous rage that left the theatre aisles slick with Nicodemo takes a haptic approach to cinema, using the fiction writer, and the curator of an art show titled If They ies at the University of North Carolina Wilmington, and blood.
Our cover image recalls the moment shortly after example of cinematography in Irreversible to argue that aes- Came From Within: An Alternative History of Canadian his work has appeared in many journals including Cinema the collector obtains and views the coveted film: driven to thetic techniques can be used to affect the spectator on a Horror.
Journal, Journal of Film and Video, Studies in French Cin- an ecstatic madness by what he has witnessed, and inspired visceral level. He is cur- to make a film of his own, he cuts his belly with a straight German zombie film Rammbock, Peter Schuck then argues Andrea Butler is an MA candidate in Cinema and Media rently completing a monograph on the film Irreversible for razor and feeds his intestines into the film projector.
In the piece concluding the articles section of our the seventies and eighties and the new insurgence of con- Kiva Reardon received her BA in Cultural Studies from surrounding a group of recent European films that fea- issue, Dave Alexander encourages a historically sensitive temporary artists who are reimagining familiar cult classics.
McGill University, and then went on to complete her MA ture graphic depictions of sex and violence. Finally, the issue concludes with mentary aesthetics, and sound in film. This hard work of an amazing group of people.
He studied Comparative Literature and Philoso- into question the status and significance of extreme cinema tions. We would also like to express our gratitude to those Film Routledge and co-editor with Tina Kendall phy at the University of Erfurt and the Ruhr-University- across the globe. Currently he is writing a PhD thesis on Zom- cinemas? By using the awkwardly placed staples. Tina Kendall is Senior Lecturer in Film Studies at Anglia boxes his stepfather insisted on cultivating during his youth.
She is editor of a special Sometimes he is also inspired by tough men, but not in any simply extremism or new extremism, we wish to encourage Surrealist movement that emerged in the twenties, to the issue of Film-Philosophy on disgust Like the film col- cept of new extremism to include different national contexts, lector feeding his guts into the projector, we are compelled Timothy Nicodemo is an MA candidate in Film Studies at approaches, and styles.
His research interests include: theories configures recent discourse about transgressive French cin- ema gives us the opportunity to do so. The combina- any explicit sex or violence.
Tak- and taken hold in a number of different contexts, which call ing a step back to encompass a more global view of cinema, precisely for the kind of renewed scholarly evaluation that it is clear that the new extremism tendency was never lim- is being facilitated by this issue of Cinephile. In our book, ited to European cinema, but has been a growing cinematic The New Extremism in Cinema: From France to Europe, we force across a number of national contexts, including films were interested in exploring the notion of extreme cinema from South Korea, Japan, the United States, Mexico, and in relation to the work of a range of European art house the Philippines, to name a few.
The relation- What happens to the specificity of the films of the ship set up between the spectator and the screen was central new European extremism and their self-conscious address to our exploration of these films.
And how do we and often contradictory ways in which these films situate account for the many-faceted contexts in which this idea sex and violence as a means of interrogating the relation- of extreme cinema manifests itself? This is something that we of films that challenge codes of censorship and social mores, especially through explicit depiction of sex and violence, in- 1. Thinking about the distinctive treat- ments of the extreme within and across national boundaries can tell us much about the cultural contours that produce to think in detail about the various national and cultural and lend value to spectatorial experiences, that make them contexts that make extreme cinema relevant, meaningful, meaningful and watchable.
Secondly, we would argue along and watchable for spectators. From this point of view, what with Lowenstein that adopting a longer historical view in becomes increasingly important to stress is the notion of thinking about extreme cinema can bring to light insights extremisms: different instantiations and mobilizations of the about the imbrication of technology, embodiment, affect, extreme across a range of national perspectives. Finally, thinking about both art house and mainstream the rhetoric of extremism has increasingly been taken up extremisms together can help to avoid forming elitist judge- within mainstream film contexts.
While these films were mindful of in our book, noting the need to distinguish a mainstream audience. Nevertheless, as the idea of extremism scenes of brutality against its A-list female stars, Jessica Alba tive and genre paradigms, to produce dissimilar affective Horeck, Tanya, and Tina Kendall, eds.
The New Extremism in Cinema: in cinema gains ever-greater currency in a global, transna- and Kate Hudson; what was most interesting in the wake responses. Again, while recognizing affinities between films From France to Europe. Edinburg: Edinburg UP, Oxford Dictionary of Film Studies.
Indeed, and producers justified its extremity through reference to posure to graphic horror, it is vital to recognize, as Hawkins Oxford: Oxford UP, One of the hallmarks of the new Euro- art house and mainstream cinema.
The new wave of French horror includes films such as Switchblade Romance Alexandre Aja , Inside Alexandre Bustillo and Julien in often conflicting ways to arrive at different methods of ploitation, philosophy, and horror. In short, we need the recent variations on extremism in cinema represent Welz , and Martyrs Pascal Laugier Figurehead productions, ing. Re- fully articulated sense of social despair. What especially unites these figures is the for- textual resources into either coherent socio-political inter- mative notion of applied cinephilia, the shared belief that ventions or horror film norms.
From pent-up anger, corporeal and social a practical standpoint, Civeyrac argues that he and his dis- ciples want to revive the most exacting parameters of mas- estrangement. From she is left catatonic in a hospital room. Dressed in black, the two girls are shocked the faculty by committing suicide Calet n. As Dominique their corporeal connection is the only meaningful diegetic by the window that distantly evokes the Gothicism of Ed- ity Palmer, Brutal Intimacy Whereas such films are seldom triumphalist, nor Economist Since the s, these without melancholia, they do conventionally depict their that his protagonists perceive adulthood, their future, to be film art derives entirely from a political dichotomy: either rites-of-passage, female-centred productions have become young female protagonists evolving under duress into adults compromised regardless of their success or failure.
To become unemployed? To be exploited? To scour the frame for microcurrents, ers who annually create about forty percent of all French pected parental separation Un Poison violent , or maternal exploit others?
Des filles en noir lyrically invokes, but does not con- descend to judge or explain. Here, not a life. The ential purity, then why continue further? If debilitation and template at hand is the feminine French adolescent coming- banality configure adulthood, why persist? French Film stasis, consolidation, and perhaps the distant prospect of Theory and Criticism Richard Abel. Princeton: Princeton UP, By Susan Hayward.
New York: Routledge, London: Intellect, Olivier Assayas. Vienna: Synema Publikationen, This climactic passage, built Inrockuptibles 3 Nov. Middletown: Wesleyan UP, Tim Palmer and Charlie Michaels. Civey- Filmmaking in France in the s and s. London: Continuum, As elsewhere, a suite of track-and-pan Steadicam glides adulthood, why persist? Much of about the contemporary French film ecosystem.
These sounds make them, and us, uncomfortable precondition for self-harm. Economist, 8 Oct. Usually overlooked by critics, such mo- Camus, Albert. The Myth of Sisyphus. Epstein, Jean. French Film Theory and Criticism bout of self-mutilation.
Before another long, funereal fade fleeting calm in the face of near-constant diegetic unrest. Though just as we cannot live being both consciously aware of our interiority and exte- riority—that is, aware of the material functionality of our bodies while perceptually inhabiting and understanding the world—the best approach is to read the texts as closely together as possible, paragraph by paragraph, as neither comes before the other.
The reading process will not be fluid, nor should it be. This depth, however, is not comforting. The tension between the texts, the penetration and loss of their boundaries in moving from one to the other, should, as when we become aware of our material bodies in their involuntary and uncanny palpitations, cause moments of rupture.
In these bursts there lingers a sense of the erotic and desire: the intertwined texts are at play with each other as the end point remains elusive. Returning to Derrida, here we will turn his impulse on its head. This book [The Tears of Eros], for its author, has only one meaning: it opens up consciousness of the self! A space with no form. Though the common conception of the unconscious Contained by.
Thus, just as Freud claimed we repress How to understand the formless space that engulfs us other our desires in order to participate in and indeed propagate than by deferring to words to give shape to the unknown? Yet the words themselves give no sense of spatial orien- tured gaze and most importantly for the paper at hand, tation, meaning or shape of what is around us. This is, for same time our paradoxical distance from them.
My intestines? My heart? The body is scissors—defies logic not only in its sheer horror but also in touch. In watch- world and language.
Eye becomes e-y-e, without linear see such an understanding of subjectivity as one that funda- in an endless present.