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Titlebook: Genre Trouble and Extreme Cinema; Film Theory at the F Troy Bordun Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 extreme c

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发表于 2025-3-21 18:22:25 | 显示全部楼层 |阅读模式
书目名称Genre Trouble and Extreme Cinema
副标题Film Theory at the F
编辑Troy Bordun
视频video
概述Develops a novel approach to contemporary film theory by building a bridge between seemingly incompatible scholars and concepts.Highlights the significance of extreme cinema for film theory, genre the
图书封面Titlebook: Genre Trouble and Extreme Cinema; Film Theory at the F Troy Bordun Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 extreme c
描述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..
出版日期Book 2017
关键词extreme cinema; genre trouble; art cinema; genre-film; genre
版次1
doihttps://doi.org/10.1007/978-3-319-65894-0
isbn_softcover978-3-319-88125-6
isbn_ebook978-3-319-65894-0
copyrightThe Editor(s) (if applicable) and The Author(s) 2017
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Analytische Geometrie als Modell,le with “compulsory monogamy” in a sexual epoch much more diverse than heterosexual, monogamous sex permits. The author engages Bill Nichols’s documentary film theory to assess Reygadas’s critiques and his style. Reygadas employs the profilmic event as a stylistic device. The chapter continues the w
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,I Don’t Know It When I See It: Catherine Breillat’s Pornography, to sexually explicit displays and that we should therefore do away with the notion of porn as a genre, this chapter demonstrates the genre’s shifting terrain and the merits of including Breillat within it.
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Reframing Spectatorship Theory with Extreme Cinema,e perhaps been willing to grant. The chapter’s means to accomplish this is the bridge built between the theories of psychoanalysis (Lacan, Žižek, Burgin) and phenomenology (Marks). With the preceding chapters’ arguments in hand, an alternative method of building spectators into film theory and genre theory is proposed.
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