Genre Trouble and Extreme Cinema Film Theory at the Fringes of Conte
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 Fre
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Troy Bordun
Genre Trouble and Extreme Cinema
Troy Bordun
Genre Trouble and Extreme Cinema Film Theory at the Fringes of Contemporary Art Cinema
Troy Bordun Trent University Peterborough, ON, Canada
ISBN 978-3-319-65893-3 ISBN 978-3-319-65894-0 (eBook) DOI 10.1007/978-3-319-65894-0 Library of Congress Control Number: 2017950397 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover credit: Post Tenebras Lux (Carlos Reygadas 2013) Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements
This volume is a revised version of my Ph.D. dissertation. From my thesis committee, I thank Davide Panagia, Veronica Hollinger, Ian McLachlan, Brian Price, and Elaine Stavro. Their comments, patience, and administrative support made the dissertation work flow smoothly and steadily. Erin Stewart Eves at Trent University’s Academic Skills Center was invaluable at the beginning of my dissertation. Several sections of this book were previously published in slightly altered forms, and I would like to thank the journal editors for permission to reprint them here. Chapter 4 is derived, in part, from “‘Sex is Metaphysical’: Catherine Breillat’s Pornographic Films,” published in Cine-Excess 2 (2016); part of Chap. 5 was published as “Seeing Horror, Imagining the Horrible” in Off-screen 19.9 (2015); Chap. 6 was derived, in part, from “Onscreen and Offscreen Flesh and Blood: Performance, Affect, and Ethics in Catherine Breillat’s Films,” published in Studies in European Cinema 12.2 (2015), available online at www.tandfonline.com/doi/abs/10.1080/1741154 8.2015.1037572; and part of Chap. 8 was published in CineAction
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