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The New Extremism in CinemaFrom France to Europe$
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Tanya C Horeck and Tina Kendall

Print publication date: 2011

Print ISBN-13: 9780748641604

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748641604.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 16 October 2021

The Wounded Screen

The Wounded Screen

Chapter:
(p.28) (p.29) Chapter 3 The Wounded Screen
Source:
The New Extremism in Cinema
Author(s):

Martine Beugnet

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748641604.003.0003

This chapter focuses on post-war cinema, considering how an emerging extreme cinema deals with political conflicts and concerns about France's involvement in traumatic historical events in ways very different to the tradition of political, social realist filmmaking. It discusses the ‘sensory overload’ of the ‘cinema of sensation’ by comparing Agnès Varda's classic art film, Cléo de 5 à 7 (France, 1962) and Claire Denis's ‘blood-soaked gore opus’, Trouble Every Day (France, 2001). It explores how both films, though separated by forty years, work with categories emblematic of the post-war cultural shift identified by Kristin Ross in her important study of post-war French society, Fast Cars, Clean Bodies (1999). Through references to disease, both films evoke the legacy of French colonial history, and in doing so, each connects the individual and the filmic body with the national body and history's festering wounds.

Keywords:   France, extreme cinema, sensory overload, Agnès Varda, Cléo de 5 à 7, Claire Denis, Trouble Every Day, Kristin Ross, Fast Cars, Clean Bodies

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