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Troubled Everyday
The Aesthetics of Violence and the Everyday in European Art Cinema
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Book Presentation:
Investigates the framing of the ordinary and the everyday in extreme European art film
Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat’s Fat Girl (2001), Gaspar Noé’s Irreversible (2002) and Markus Schleinzer’s Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination.
Case Studies
• Salò or the 120 Days of Sodom (Pasolini 1975)
• Money (Bresson 1983)
• Come and See (Klimov 1985)
• The Seventh Continent (Haneke 1989)
• I Stand Alone (Noé 1998)
• Fat Girl (Breillat 2001)
• Irreversible (Noé 2002)
• Twentynine Palms (Dumont 2003)
• Michael (Schleinzer 2011)
About the Author:
Alison Taylor is Senior Teaching Fellow at Bond University. In 2014, she received the Dean’s Award for Outstanding Research Higher Degree Theses at the University of Queensland.
Press Reviews:
So often we are dazzled by spectacle; in Troubled Everyday Taylor makes a compelling case for the importance of paying attention to the quotidian. A beautifully written, carefully observed account of the relation of the everyday to violence in film, Taylor not only reframed my thinking about the films in question, but about film as a medium.– Catherine Wheatley, KCL
See the publisher website: Edinburgh University Press
> From the same author:
> On a related topic:
Beyond Auteurism (2008)
New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s
Screening Modernism (2008)
European Art Cinema, 1950-1980
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