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Genre trouble and extreme cinemafilm...

Bordun, Troy.

Genre trouble and extreme cinemafilm theory at the fringes of contemporary art cinema /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Genre trouble and extreme cinemaby Troy Bordun.
Reminder of title:	film theory at the fringes of contemporary art cinema /
Author:	Bordun, Troy.
Published:	Cham :Springer International Publishing :2017.
Description:	xi, 244 p. :ill., digital ;22 cm.
Contained By:	Springer eBooks
Subject:	Film genres.
Online resource:	http://dx.doi.org/10.1007/978-3-319-65894-0
ISBN:	9783319658940$q(electronic bk.)

Genre trouble and extreme cinemafilm theory at the fringes of contemporary art cinema /
Bordun, Troy.

Genre trouble and extreme cinemafilm theory at the fringes of contemporary art cinema /[electronic resource] :by Troy Bordun. - Cham :Springer International Publishing :2017. - xi, 244 p. :ill., digital ;22 cm.

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.

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 cliches 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.

ISBN: 9783319658940$q(electronic bk.)

Standard No.: 10.1007/978-3-319-65894-0doiSubjects--Personal Names:

797517
Breillat, Catherine
--Criticism and interpretation.Subjects--Topical Terms:

364639
Film genres.

LC Class. No.: PN1995 / .B6168 2017

Dewey Class. No.: 791.43

Genre trouble and extreme cinemafilm theory at the fringes of contemporary art cinema /
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505 0 $a 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.
520 $a 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 cliches 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.
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