Troubled everyday : the aesthetics of violence and the everyday in European art cinema /
Investigates the framing of the ordinary and the everyday in extreme European art film. Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these film...
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| Format: | Electronic eBook |
| Language: | English |
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Edinburgh :
Edinburgh University Press,
©2017.
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| 100 | 1 | |a Taylor, Alison. | |
| 245 | 1 | 0 | |a Troubled everyday : |b the aesthetics of violence and the everyday in European art cinema / |c Alison Taylor. |
| 260 | |a Edinburgh : |b Edinburgh University Press, |c ©2017. | ||
| 300 | |a 1 online resource (137 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 504 | |a Includes filmography. | ||
| 505 | 0 | |a Acknowledgements -- List of figures -- 'A lightning that illuminates the banal': violence and the everyday -- Everyday moments -- Everyday style -- Everyday structures/everday language -- Return to the everyday -- Conclusion: looking back -- Works cited -- Filmography -- Index. | |
| 520 | |a Investigates the framing of the ordinary and the everyday in extreme European art film. Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat's Fat Girl (2001), Gaspar NoÃ♭'s Irreversible (2002) and Markus Schleinzer's Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination. Case Studies. SalÃø or the 120 Days of Sodom (Pasolini 1975) Money (Bresson 1983) Come and See (Klimov 1985) The Seventh Continent (Haneke 1989) I Stand Alone (NoÃ♭ 1998) Fat Girl (Breillat 2001) Irreversible (NoÃ♭ 2002) Twentynine Palms (Dumont 2003) Michael (Schleinzer 2011) | ||
| 590 | |a ProQuest Ebook Central |b Ebook Central Academic Complete | ||
| 650 | 0 | |a Violence in motion pictures. | |
| 650 | 0 | |a Motion pictures |z Europe. | |
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