Extreme Cinema examines the highly stylized treatment of sex and
violence in post-millennial transnational cinema, where the
governing convention is not the narrative but the spectacle. Using
profound experiments in form and composition, including jarring
editing, extreme close-ups, visual disorientation and sounds that
straddle the boundary between non-diegetic and diegetic registers,
this mode of cinema dwells instead on the exhibition of intense
violence and an acute intimacy with the sexual body. Interrogating
works such as Wetlands and A Serbian Film, as well as the
sub-culture of YouTube 'reaction videos', Aaron Michael Kerner and
Jonathan L. Knapp demonstrate the way content and form combine in
extreme cinema to affectively manipulate the viewing body.
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