Reconceptualising extreme art film as transnational cinema

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Abstract

Extreme art cinema has often been placed within a Franco-centric framework whereby the aesthetic and thematic concerns of the narratives are placed within French traditions of transgression. This article seeks to interrogate this trend, and assert that extreme art cinema and its particular modes of inversion, hybridisation and provocation, are implicated within an ongoing history of transnational exchanges and conversations. Using landmark examples of extreme art cinema, this article provides a snapshot of the ways cinematic extremity travels between national production contexts, drawing together a series of culturally diverse narratives. Through this exploration, the article puts forth a more expansive canon based around the key principles of transnationalism, and notes the manner in which these narratives share, trade and exchange thematic concerns, aesthetic practices, reception cultures, exhibition platforms and key personnel.
Original languageEnglish
Pages (from-to)33-48
Number of pages16
JournalTransnational Cinemas
Volume6
Issue number1
Early online date6 Mar 2015
DOIs
Publication statusPublished - May 2015

Keywords

  • extreme cinema
  • transnational cinema
  • art cinema
  • exploitation cinema

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