Extreme Cinema: The Transgressive Rhetoric of Today's Art Film Culture
From The Art and Popular Culture Encyclopedia
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"Her aesthetic embrace [in Screening Sex] considers the film as the “first example of feature-length narrative cinema anywhere in the world to succeed as both art and pornography—as both genital maximum visibility and the erotic subtleties of line, color, light and performance.” --Extreme Cinema: The Transgressive Rhetoric of Today's Art Film Culture, Mattias Frey, 2016 |
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Extreme Cinema: The Transgressive Rhetoric of Today's Art Film Culture (2016) is a book by Mattias Frey.
Blurb:
From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace.
Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, Extreme Cinema examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product.
Extreme Cinema also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the “taboo-breakers” of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.
