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
Noe'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.
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