sign in sign up
<<
Home , Jane Campion, Junior Bonner, Ken Park, Lynne Ramsay, Medea Miracle, Nagisa Oshima

Selected Filmography

9 Songs, Michael Winterbottom, 2004. A Hole in my Heart, Lukas Moodysson, 2004. A Snake of June, Shinya Tsukamoto, 2002. Anatomie de l'enfer, Catherine Breillat, 2004. Antichrist, , 2009. Baise-moi, Virginie Despentes and Coralie Trinh Thi, 2000. , , 2005. , , 2003. Cache, , 2005. The Center of the World, Wayne Wang, 2001. Demon/over, , 2002. , Marina Abramovic, Matthew Barney, Marco Brambilla, , Gaspar Noe, Richard Prince and Sam Taylor-Wood, 2006. Dog Days, Ulrich Seidl, 2001. Funny Games, Michael Haneke, 1997. Gerry, , 2002. The Girlfriend Experience, , 2009. The Idiots, Lars von Trier, 1998. Import/Export, Ulrich Seidl, 2007. In the Cut, Jane Campion, 2003. In the Realm of the Senses, Nagisa Oshima, 1976. Intimacy, Patrice Chereau, 2001. Irreversible, Gaspar Noe, 2002. Last Tango in , , 1972. Lie With Me, Clement Virgo, 2005. La Pianiste, Michael Haneke, 2001. Pola X, Leos Carax, 1999. The Pornographer, Bertrand Bonello, 2001. Princess, Anders Morgenthaler, 2006. Ma mere, Christophe Honore, 2004. The Night Porter, Liliana Cavani, 1974. Romance, Catherine Breillat, 1999. Salo, or the 120 Days ofSodom, , 1975. Seul contre taus, Gaspar Noe, 1998. Shortbus, , 2006. Taxidermia, Gyorgy Palfi, 2006. This Girl's Life, Ash Baron-Cohen, 2003. Trouble Every Day, , 2001. Twentynine Palms, Bruno Dumont, 2003. Un Chien andalou, Luis Bufiuel, 1929. Vendredi Soir, Claire Denis, 2002. The Wayward Cloud, Ming-liang Tsai, 2005.

165 Selected Bibliography

Aaron, Michele. Spectatorship: The Power of Looking On. London: Wallflower, 2007. Abbey, Edward. Desert Solitaire: A Season in the Wilderness. : Ballantine Books, 1968. Adorno, Theodor W. Minima Moralia: Reflections From Damaged Life. Trans. E.F.N. Jephcott. London: NLB, 1974. Adorno, Theodor W. Aesthetic Theory [1970]. Trans. Robert Hullot-Kentor. London: Continuum, 1997. Adorno, Theodor W. and Max Horkheimer. Dialectic of Enlightenment [1944). New York: Continuum, 1972. Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Trans. Daniel Heller• Roazen. Stanford: Stanford University Press, 1998. Attwood, Feona, ed. Mainstreaming Sex: The Sexualization of Culture. London: !.B. Tauris, 2009. Auge, Marc. Non-Places: Introduction to an Anthropolop;y of Supermodernity. Trans. John Howe. London: Verso, 1995. Bainbridge, Caroline. The Cinema of Lars Von Trier: Authenticity and Artifice. London: Wallflower Press, 2007. Bainbridge, Caroline. A Feminine Cinematics: Luce Irigaray, Women and Film. Basingstoke: Palgrave Macmillan, 2008. Bal, Mieke. Quoting Caravaggio: Contemporary Art, Preposterous History. Chicago: University of Chicago Press, 1999. Bazin, Andre. "Marginal Notes on Eroticism in the Cinema." In What is Cinema? Volume 2 [1971], trans. Hugh Gray, Foreword by Fraw;:ois Truffaut, new fore• word by Dudley Andrew, Berkeley: University of Press, 2005. Bazin, Andre. "The Western: or the American Film Par Excellence." In What is Cinema? Volume 2 (1971]. Trans. Hugh Gray, Foreword by Fran~ois Truffaut, new foreword by Dudley Andrew. Berkeley: University of California Press, 2005. Baudrillard, jean. America [1986]. London: Verso, 1988. Baudrillard, jean. Seduction [1979]. Trans. Brian Singer. Montreal: New World Perspectives, 1990. Best, Victoria and Martin Crowley. The New Pornographies: Explicit Sex in Recent French Fiction and Film. Manchester: Manchester University Press, 2008. Beugnet, Martine. Claire Denis. Manchester: Manchester University Press, 2004. Beugnet, Martine. Cinema and Sensation: French Film and the Art of Transgression. Edinburgh: Edinburgh University Press, 2007. Bickerton, Emilie. "Anatomy of Hell." Sight and Sound 15.1 (2004): 40-2. Blumenthal, Ralph. "Porno Chic." . january 21, 1973, 272. Booth, Wayne. The Company We Keep: An Ethics of Fiction. Berkeley: University of California Press, 1988. Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985.

166 Selected Bibliography 167

Bordwell, David. Figures Traced in Light: On Cinematic Staging. Berkeley: University of California Press, 2005. Breillat, Catherine. Pornocratie. Paris: Denoel, 2001. Brenez, Nicole. De Ia figure en general et du corps en particulier. Brussels: De Baek, 1998. Brottman, Mikita. Offensive Films: Toward and Anthropology of Cinema Vomitif. Westport, Conn.: Greenwood£ Press, 1997. Brunette, Peter. Michael Haneke. Urbana: University of Illinois Press, 2010. Butler, Alison. Women\ Cinema: The Contested Screen. London: Wallflower, 2002. Butler, Judith. Excitable Speech: A Politics of the Performative. New York: Routledge, 1997. Cameron, Allan. "Contingency, Order, and the Modular Narrative: 21 Grams and Irreversible." The Velvet Light Trap 58 (2006): 65-78. Caputi, Mary. Voluptuous Yearnings: A Feminist Theory of the Obscene. Lanham: Rowman & Littlefield, 1994. Cardullo, Bert. "Shoot Player." The Hudson Review 56.3 (2003): 521-30. Carter, Angela. The Sadeian Woman and the Ideology of . New York: Pantheon Books, 1978. Casarino, Cesare. "David Wojnarowicz, AIDS, and the Cinematic Imperative." Raritan 20.4 (2001): 148-57. Cash ell, Kieran. Aftershock: The Ethics of Contemporary Transgressive Art. London: I. B. Tauris, 2009. Cavell, Stanley. "A Matter of Meaning It." In Must We Mean What We Say? A Book of Essays. Cambridge: Cambridge University Press, 1960. Caws, Mary Ann. The Art of Interference: Stressed Readings in Verbal and Visual Texts. Cambridge: Polity Press, 1989. Celik, Ipek A. '"I Wanted You to Be Present': Guilt and the History of Violence in Michael Haneke's Cache." Cinema Journal 50.1 (2010): 59-80. Charney, Leo. Empty Moments: Cinema, Modernity, and Drift. Durham: Duke University Press, 1998. Childs, Elizabeth C. "Introduction." In Suspended License: Cemorship and the Visual Arts, ed. Elizabeth C. Childs. Seattle: University of Washington Press, 1998, 3-31. Christensen, Ove. "Spasserfilm: N

Comolli, Jean-Luc, and Paul Narboni. "Cinema/Ideology/Criticism." Screen 12.1 (1971): 27-36. Coopersmith, Jonathan. "Pornography, Videotape, and the Internet." IEEE Technology and Society Magazine 19 (2000): 27-34. Cordelle, Frank. Bodies and Souls: The Century Project. Ancaster, ON: Heureka Productions, 2006. Coward, Rosalind. "Sexual Violence and Sexuality." Feminist Review 11 (1982): 9-22. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, Mass.: The MIT Press, 1990. Creed, Barbara. Media Matrix: Sexing the New Reality. Craw's Nest, Australia: Allen and Unwin, 2003. Danks, Adrian. "Travellin' Light." Senses of Cinema 31 (2004), http:/ /www.senses ofcinema.com/2004/cteq/vendredi_soir/ Accessed August 31, 2006. Dargis, Manohla. "Strangers Squirrel Themselves Away for Four Nights of Sex and Zero Nights of Fun." The New York Times. October 15, 2004, 12. Debord, Guy. La societe du spectacle [Society of the Spectacle]. Paris: Buchet/Chastel, 1967. de Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington: Indiana University Press, 1987. Deleuze, Gilles. Cinema 1: The Movement-Image [1983]. Trans. Hugh Tomlinson and Barbara Habberjam. London: The Athlone Press, 1986. Deleuze, Gilles. Cinema 2: The Time-Image [1985!. Trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press, 1989. Deleuze, Gilles and Felix Guattari. "1440: The Smooth and the Striated." A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1988, 474-500. de Man, Paul. The Resistance to Theory. Foreword by Wlad Godzich. Minneapolis: University of Minnesota Press, 1986. Derrida, Jacques. Tlre Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago: University of Chicago Press, 1987. Didi-Huberman, Georges. Confronting Images: Questioning the Ends of a Certain History of Art. Trans. John Goodman. University Park, PA.: Pennsylvania State University Press, 2005. Doane, Mary Anne. "Film and the Masquerade: Theorising the Female Spectator." Screen 23.3-4 (1982): 74-88. Doane, Mary Ann. "Women's Stake: Filming the Female Body." In Feminism and Film Theory, ed. Constance Penley. New York: Routledge, 1988, 216-28. Downing, Lisa and Libby Saxton. Film and Ethics: Foreclosed Encounters. London: Routledge, 2009. Dunne, J. W. An Experiment With Time. London: A. & C. Black, 1927. Durgnat, Raymond. Sexual Alienation in the Cinema. London: Studio Vista, 1972. Eisenstein, Sergei M. Nonindifferent Nature. Trans. Herbert Marshall, Cambridge: Cambridge University Press, 1987. Eisenstein, Sergei M. "The Problem of the Materialist Approach to Form." In The Eisenstein Reader, ed. Richard Taylor. London: BFI, 1998. Eliot, T.S. "Dante." In Selected Essays. New York: Harcourt Brace & World, 1960. Elkins, James. Pictures of the Rody: Pain and Metamorphosis. Stanford: Stanford University Press, 1999. Selected Bibliography 169

Emerson, Ralph Waldo. Nature [1836]. Boston & Cambridge: James Munroe & Company, 1849. Eric, Alliez. "Midday, Midnight: The Emergence of Cinethinking." In The Brain is the Screen: Deleuze and the Philosophy of Cinema, trans. Patricia Dailey, ed. Gregory Flaxman. Minneapolis: University of Minnesota Press, 2000, 293-303. Falcon, Richard. "Cruel Intentions." Sight and Sound 9 (2001): 52. Flitterman-Lewis, Sandy. To Desire Differently: Feminism and the French Cinema. Urbana: University of Illinois Press, 1990. Fox, Alistair. fane Campion: Authorship and Personal Cinema. Bloomington: Indiana University Press, 2011. Frampton, Daniel. Filmosophy. London: Wallflower Press, 2006. Frank, Sam. Sex in the Movies. Secaucus, N.J.: Citadel Press, 1986. Frey, Mattias. "Border Zones: The Films of Ulrich Seidl." Senses of Cinema 32, 2004, http://www.sensesofcinema.com/2004/32/ulrich_seidl/. Frey, Mattias. "Tuning Out, Turning In, and Walking Off." In Picturing Pain and the Ethics of Viewing, eds. Asbjorn Gmnstad and Henrik Gustafsson. Forthcoming from Routledge, 2012. Galt, Rosalind. "Pretty: Film Theory, Aesthetics, and the History of the Troublesome Image." Camera Obscura 71 (2009): 1-41. Game, Jerome. "Cinematic Bodies: The Blind Spot in Contemporary French Theory on Corporeal Cinema." Studies in French Cinema 1.1 (2001): 47-53. Garber, Marjorie. "Vegetable Love." In Quotation Marks. New York: Routledge, 2003. Gatens, Moira. Imaginary Bodies: Ethics, Power and Corporeality. London: Routledge, 1996. Gaut, Berys. "Naked Film: Dogma and its Limits." In Purity and Provocation: Dogma 95, eds. Mette Hjort and Scott MacKenzie. London: BFI, 2003, 89-101. Gell, Alfred. Art and Agency: An Anthropological Theory. Oxford: Clarendon Press, 1998. Genette, Gerard. Palimpsestes: La Litterature au Second Degre. Paris: Seuil, 1982. George, Poulet. "Phenomenology of Reading." New Literary History 1 (1969), 53-68. Gibson, Brian. "Bearing Witness: The ' and Michael Haneke's Implication of the Viewer." Cineaction 70 (2006), 24-38. Gordon, Bette, an Karyn Kay. "Look Back/Talk Back." In Dirty Looks: Women, Pornography, Power, eds. Pamela Church Bibson & Roma Gibson. London: BFI, 1993, 90-100. Griggers, Camilla. Becoming-Woman. Minneapolis: University of Minnesota Press, 1997. Grissemann, Stefan. "Discovery: Ulrich Seidl." Film Comment 37.6 (2001): 16-17. Gmnstad, Asbjorn. "Topographies of Defeat: Masculiniy and Desolation in Fat City and Junior Bonner." Kinema: A Journal for Film and Audiovisual Media 16 (2001): 33-48. Gronstad, Asbjorn. Transfigurations: Violence, Death and Masculinity in American Cinema. Amsterdam: Amsterdam University Press, 2008. Gmnstad, Asbjorn. "Dead Time, Empty Spaces: Landscape as Sensibility and Performance." In Exploring Textual Action, eds. Lars Sretre, Patrizia Lombardo, and Anders Gullestad. Aarhus: Aarhus University Press, 2010, 311-31. Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey. Stanford: Stanford University Press, 2004. Hall, Ann C., and Mardia J. Bishop, eds. Pop-Porn: Pornography in American Culture. Westport, Conn.: Praeger, 2007. 170 Selected Bibliography

Han eke, Michael. "Film als Katharsis." In Austria (In) Felix: Zum Osterreichischen Film der BOer Jahre, ed. Francesco Bono. Graz: Edition Blimp/Rome: Aiace, 1992, 89. Hanich, Julian. "Dis/liking Disgust: The Revulsion Experience at the Movies." New Review of Film and Television Studies 7.3 (2009): 293-309. Harries, Martin. Forgetting Lot's Wi(e: On Destructive Spectatorship. New York: Fordham University Press, 2007. Hartwick, Larry. "On The Aesthetic Dimension: A Conversation with Herbert Marcuse." Contemporary Literature 22.4 (1981): 416-24. Herman Melville, Dick; Or, The Whale [1851], Berkeley: University of California Press, 1979, 50. Huer, Jon. Art, Beauty, and Pornography: A Journey Through American Culture. Buffalo, New York: Prometheus, 1987. Hunt, Lynn, ed. Eroticism and the Body Politic. Baltimore: Johns Hopkins University Press, 1991. Huntley, Rebecca. "Slippery When Wet: The Shifting Boundaries of the Pornographic (a Class Analysis)." Continuum: Journal of Media and Cultural Studies 12.1 (1998): 69-81. Jacobs, Katrien. Netporn: DIY Web Culture and Sexual Politics. Lanham, MD: Rowman and Littlefield, 2007. ]ames, David. Allegories of Cinema: American Film in the Sixties. Princeton, N.j.: Princeton University Press, 1989. ]ames, Nick. "The Films of 2006." Sight and Sound 17.1 (2007): 32-35. Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. London: Verso, 1991. Jansen, Sue Curry. The Knot that Binds Power and Knowledge. New York: Oxford University Press, 1991. Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley: University of California Press, 1993. jay, Martin. "Abjection Overruled." In Cultural Semantics: Keywords of Our Time. Amherst: University of Press, 1998, 144-56. ]ay, Martin. "The Aesthetic Alibi," In Cultural Semantics: Keywords of Our Time. Amherst: University of Massachusetts Press, 1998, 109-19. Jeffers, Robinson. The Double Axe and Other Poems [1948). Foreword by William Everson, Afterword by Bill Hotchkiss. New York: Liveright, 1977. ]erslev, Anne. "Dogma 95, Lars von Trier's The Idiots and the 'Idiot Project."' In Realism and 'Reality' in Film and Media, ed. Anne ]ersiev. Copenhagen: Museum Tusculanum Press, 2002, 41-65. jervis, John. Transgressing the Modern: Explorations in the Western Experience of Otherness. Oxford: Blackwell, 1999. johnston, Claire. "Women's Cinema as Counter-Cinema." In Feminism and Film, ed. E. Ann Kaplan. Oxford: Oxford University Press, 2000, 22-33. johnston, Ian. "How Sweet to Be a Cloud?" Bright Lights Film Journal 50 (2005), http://www.brigh tligh tsfilm .com/50/wayward.htm. jones, Steve, and Sharif Mowlabocus. "Hard Times and Rough Rides: The Legal and Ethical Impossibilities of Researching 'Shock' Pornographies." Sexualities 12.5 (2009): 613-28. Jonathan, Culler. Structuralist Poetics: Structuralism, Linguistics and the Study of Literature. London: Routledge, 1975. Joselit, David. "An Allegory of Criticism." October 103 (Winter 2003): 3-13. Selected Bibliography 1 71

Joseph Brodsky, On Grie(mzd Reason: Essays, Farrar, Straus & Giroux, 1995, 49. Julius, Anthony. Transsressions: The Offences a( Art. London: Thames & Hudson, 2002. Kammen, Michael. Visual Shock: A History o(Art Controversies in American Culture. New York: Alfred A. Knopf, 2006. Kaplan, E. Ann. "Introduction." In Feminism and Film, ed. E. Ann. Kaplan. Oxford: Oxford University Press, 2000, 1-18. Kaplan, E. Ann. "Is the Gaze Male?" In Feminism and Film, ed. E. Ann Kaplan. Oxford: Oxford University Press, 2000, 119-38. Kappeler, Susanne. Pornography a( Representation. Cambridge, UK: Polity Press, 1986. Kauffman, Linda. Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture. Berkeley. University of California Press, 1998. Keesey, Douglas. Catherine Brei/lat. Manchester: Manchester University Press, 2009. Kendrick, Walter. The Secret Museum: Pornography in Modern Culture [1987]. Berkeley: University of California Press, 1997. Kenneth MacKinnon, Misozyny in the Movies: The De palma Question, Newark: University of Delaware Press, 1990, 60. Keyser, Lester. "Sexuality in Contemporary European Film." In Sexuality in the Movies [1975], ed. Thomas A. Atkins. New York: Da Capo Press, 1984, 172-90. Kipnis, Laura. Bound and Gagged: Pornography and the Politics a( Fantasy in America. New York: Grove Press, 1996. Kovel, Joel. "The Antidialectic of Pornography." In Men Con(ront Pornography, ed. MichaelS. Kimmel. New York: Crown Publishers, 1990, 153-67. Kracauer, Siegfried. Theory a( Film: The Redemption a( Physical Reality. London: Oxford University Press, 1960. Kristeva, Julia. "Woman Can Never be Defined." In New French Feminisms: An Antholozy, eds. Elaine Marks & Isabelle c1e Courtivron. Brighton: Harverster Press, 1981, 13 7-42. Kristeva, Julia. Powers a( Horror: A Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press, 1982. Kuhn, Annette. The Power a( the Image: Essays on Representation and Sexuality. London: Routledge & Kegan Paul, 1985. Ledbetter, Mark. Victims and the Postmodern Narrative or Doing Violence to the Body: An Ethic o( Reading and Writing. New York: St. Martin's Press, 1996. Levy, Ariel. Female Chauvinist Pigs: Wimzen and the Rise o( Raunch Culture. New York: Free Press, 2005. Lillie, Jonathan james McCreadie. "Cyberporn, Sexuality, and the Net Apparatus." Convergence: The Intemational journal a( Research into New Media Technologies 10 (2004): 43-65. MacDougall, David. The Corporeal Image: Film, Ethnography, and the Senses. Princeton: Princeton University Press, 2006. MacKendrick, Karmen. Counterpleasures. Albany, NY: State University of New York Press, 1999. Macnab, Geoffrey. "Sadean Woman." Sight and Sound 14.12 (2004): 20-2. Mahon, Alyce. Eroticism and Art. Oxford: Oxford University Press, 2005. Mal, Cedric. Claire Denis: cineaste a part, et entiere. Paris: Editions de Verneuil, 2007. Mangiarotti, Chiara. Figure di donna nel cinema di fane Campion: una lettura psicoanalitica. Milan: F. Angeli, 2002. 172 Selected Bibliography

Marcuse, Herbert. The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics. Boston: Beacon Press, 1978. Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press, 2000. Marks, Laura U. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002. Martin, Adrian. '"X' Mark the Spot: Classifying Romance." Senses ofCinema 4 (2000), http://www.sensesofcinema.com/contents/00/4/romance.html. Mayne, Judith. Claire Denis. Urbana: University of Illinois Press, 2005. McCabe, Janet. Feminist Film Studies: Writing the Woman Into Cinema. London: Wallflower, 2004. McCormick, Ruth. "In the Realm of the Senses." Cineaste 7.4 (1976): 32-34. McEvilley, Tomas. "Art in the Dark." Artforum 21 (Summer 1983): 62-72. McGowan, Todd. The Real Gaze: Film Theory After Lacan. Albany: State University of New York Press, 2007. McHugh, Kathleen Anne. fane Campion. Urbana: University of Illinois Press, 2007. McNair, Brian. Mediated Sex: Pornography and Postmodern Culture. London: Arnold, 1996. McNair, Brian. Striptease Culture: Sex, Media and the Democratisation of Desire. London: Routledge, 2002. McNair, Brian. "From Porn Chic to Porn Fear: The Return of the Repressed?" In Mainstrcaming Sex: The Sexualization of Western Culture, ed. Feona Attwood. London: !.B. Tauris, 2009, 60-5. Meinig, D. W. "Symbolic Landscapes: Some Idealizations of American Comm• unities." In The Interpretation of Ordinary Landscapes, ed. D.W. Meinig. New York: Oxford University Press, 1979, 164-92. Mikita Brottman and David Sterritt. Review of Irreversible, Film Quarterly, 57.2 (2004): 39. Mitchell, W. ]. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994. Mitchell, W. ]. T. "Imperial Landscape." In Landscape and Power, ed. W.].T. Mitchell. Chicago: University of Chicago Press, 1994, 5-34. Mitchell, W. J. T. "Showing Seeing: A Critique of Visual Culture." Journal of Visual Culture 1.2 (2002): 165-81. Mitchell, W. J. T. What Do Pictures Want? The Lives and Loves of Images. Chicago: University of Chicago Press, 2005. Mitchell, W. J. T. "Visual Literacy or Literary Visualcy." In Visual Literacy, ed. james Elkins. New York: Routledge, 2008, 11-13. Morris, Meaghan. Too Soon Too Late: History in Popular Culture. Bloomington: Indiana University Press, 1998. Moxey, Keith. "Visual Studies and the Iconic Turn." Journal of Visual Culture 7.2 (2008): 131-46. Mulhall, Stephen. On Film. London: Routledge, 2002. Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen 16.3 (1975): 6-18. Mulvey, Laura. "Film, Feminism and the Avant-Garde." Framework 10 (1979): 3-10. Murdoch, Iris. "The Sublime and the Good." In Existentialists and Mystics: Writings on Philosophy and Literature, ed. Peter Conradi. New York: Penguin Books, 1999, 205-20. Selected Bibliography 17 3

Nancy, jean-Luc Nancy. The Ground of the Image. Trans. jeff Fort. New York: Fordham University Press, 200S. Naqvi, Fatima, and Christophe Kone. "The Key to Voyeurism: Haneke's Adaptation of Jelinek's The Piano Teacher." In On Michael Haneke, eds. Brian Price and John David Rhodes. Detroit: Wayne State University Press, 2010, 127-SO. Nead, Lynda. The Female Nude: Art, Obscenity and Sexuality. London: Routledge, 1992. Nead, Lynda. "Bodies of]udgment: Art, Obscenity, and the Connoisseur." In Law and the Image: The Authority ofArt and the Aesthetics ofLaw, eds. Costas Douzinas and Lynda Nead. Chicago: University of Chicago Press, 1999, 203-2S. Nichols, Bill. Introduction to Documentary. Bloomington: Indiana University Press, 2001. Nochlin, Linda. "Women, Art and Power." In Visual Theory: Painting and Interpretation, eds. Norman Bryson, Michael Ann Holly, and Keith Moxey. Cambridge: Polity Press, 1991, 13-46. Norman, Holland. "Unity Identity Text Self." In Reader-Response Criticism: From Formalism to Post-Structuralism, ed. jane P. Tompkins. Baltimore: Johns Hopkins University Press, 1980. Nussbaum, Martha C. Hiding From Humanity: Disgust, Shame, and tlze Law. Princeton: Princeton University Press, 2004. O'Toole, Laurence. Pornocopia: Porn, Sex, Technology and Desire. London: Serpent's Tail, 1998. Paglia, Camille. Sexual Personae: Art and Decadence from Nefertiti to . New York: Vintage Books, 1991. Pease, Allison. Modernism, Mass Culture and the Aesthetics of Obscenity. Cambridge: Cambridge University Press, 2000. Peranson, Mark. "Tracking Shots." The Village Voice, October 16, 2002. Peucker, Brigitte. The Material Image: Art and the Real in Film. Stanford: Stanford University Press, 2007. Penley, Constance. "Crackers and Whackers: The White Trashing of Porn." In Porn Studies, ed. Linda Williams. Durham: Duke University Press, 2004, 309-34. Polan, Dana B. jane Campion. London: BFI, 2001. Pollock, Griselda. "What's Wrong with 'Images of Women'?" In The Sexual Subject: A Screen Reader in Sexuality, ed. Screen. London: Routledge, 1992, 13S-4S. Pollock, Griselda. Vision and Difference: Femininity, Feminism and Histories of Art. London: Routledge, 1992. Pollock, Griselda. "Screening the Seventies: Sexuality and Representation in Feminist Practice-a Brechtian Perspective." In The Feminism and Visual Culture Reader, ed. Amelia jones. London: Routledge, 2003, 76-93. Porton, Richard. "Collective Guilt and Individual Responsibility: An Interview with Michael Han eke." Cineaste 31.1 (200S): SO-l. Price, Brian. "Catherine Breillat." Senses o{Cinema 23 (2002), http://www.sensesof cinema.com/contents/directors/02/breillat.html. Prince, Stephen. "The Pornographic Image and the Practice of Film Theory." Cinema Journal 27.2 (1988): 27-39. Punday, Daniel. Narrative Bodies: Toward a Corporeal Narratology. New York: Palgrave Macmillan, 2003. Quandt, james. "Flesh and Blood: Sex and Violence in Recent French Cinema." Artforum 46.6 (2004): 126-32. 17 4 Selected Bibliography

Read, Jacinda. The New Avengers: Feminism, Femininity and the Rape-Revenge Cycle. Manchester: Manchester University Press, 2000. Reichle, Ingeborg, and Steffen Siegel, eds. Ma(5lose Bilder: Visuelle Asthetik der Transgression. Munchen: Wilhelm Fink Verlag, 2009. Roddick, Nick. "Mr. Busy." Sight and Sound 16.8 (2006): 12. Rodowick, D.N. The Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory. New York: Routledge, 1991. Rodowick, D.N. Reading the Figural, or, Philosophy After the New Media. Durham: Duke UP, 2001. Roman Scheiber, "Austria," Variety International Film Guide 2003, ed. Peter Cowie, London: Button, 2002, 106. Roland Barthes, Fragments d'un discours amoureux, Paris: Seuil, 1977, 157. Roland, Barthes. "Theory of the Text." In Untying the Text: A Post-Structuralist Reader, ed. Robert Young. Boston: Routledge, 1981. Rombes, Nicholas, ed. New Punk Cinema. Edinburgh: Edinburgh University Press, 2005. Ropars-Wuilleumier, Marie-Claire. "The Graphic in Filmic Writing: A bout de souffle, or the Erratic Alphabet." Enclitic, 5.2 & 6.1 (1982): 147-61. Rushton, Richard. "Deleuzian Spectatorship." Screen 50.1 (2009): 45-53. Russell, Dominique, ed. Rape in Art Cinema, London: Continuum Press, 2010. Russo, Mary. The Female Grotesque: Risk, Excess and Modernity. New York: Routledge, 1995. Sarracino, Carmine, and Kevin M. Scott. The Porning of America: The Rise of Porn Culture, What It Means, and Where We Go From Here. Boston: Beacon Press, 2008. Schauer, Terrie. "Women's Porno: The Heterosexual Female Gaze in Porn Sites 'For Women."' Sexuality and Culture 9.2 (2005): 42-64. Schepelern, Peter. '"Kill Your Darlings': Lars von Trier and the Origin of Dogma 95." In Purity and Provocation: Dogma 95, eds. Mette Hjort and Scott MacKenzie. London: BFI, 2003, 58-69. Schopenhauer, Arthur. Essays and Aphorisms. Selected and translated by R. ]. Hollingdale. London: Penguin Books, 1970. Sharrett, Christopher. "The World that is Known: Michael Haneke Interviewed." Kinoeye: New Perspectives on European Film 4.1 (2004): http://www.kinoeye. org/04/01/interview01. php. Sharrett, Christopher. "Cache." Cineaste 31.1 (2005): 60-2 & 84. Shaviro, Steven. The Cinematic Body. Minneapolis: University of Minnesota Press, 1993. Sierz, Aleks. In-Yer-Face-Theatre: British Drama Today. London: Faber and Faber, 2001. Silverman, Kaja. The Threshold of the Visible World. New York: Routledge, 1996. Silverman, Kaja. Flesh of My Flesh. Stanford: Stanford University Press, 2009. Simon, ]an. Playing the Waves: Lars Von Trier's Game Cinema. Amsterdam: Amsterdam University Press, 2007. Sitney, P. Adams. Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson. Oxford: Oxford University Press, 2008. Slatkin, Richard. Regeneration Through Violence: The Mythology of the American Frontier, 1600-1860 [1973]. Norman: University of Oklahoma Press, 2000. Slatkin, Richard. "Dreams and Genocide: The American Myth of Regeneration Through Violence." In The Popular Culture Reader, eds. Jack Nachbar, Deborah Weiser, and John L. Wright. Bowling Green: Bowling Green University Popular Press, 1978, 51-63. Selected Bibliography 175

Slotkin, Richard. Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America [1992]. Norman: University of Oklahoma Press, 1998. Sontag, Susan. "The Aesthetics of Silence." In Styles of Radical Will. New York: Farrar, Straus & Giroux, 1966. Sontag, Susan. "The Pornographic Imagination." In Styles of Radical Will. London: Seeker & Warburg, 1969. Sorokin, Pitirim. Social and Cultural Dynamics: A Study in Major Systems of Art, Truth, Ethics, Law and Social Relationships [1937-1941]. Boston: Extending Horizons Books, 1957. Speck, Oliver C. Funny Frames: The Filmic Concepts of Michael Haneke. New York: Continuum, 2010. Stallybrass, Peter, and Allon White. The Politics and Poetics of Transgression. London: Methuen, 1986. Steinberg, Leo. Other Criteria: Confrontations with Twentieth-Century Art. London: Oxford University Press, 1972. Stern, Lesley. "The Body as Evidence." In The Sexual Subject: A Screen Reader in Sexuality, ed. Screen. London: Routledge, 1992, 192-220. Sterritt, David. "A Shadow Poet: Michael Haneke." In Cinema Inferno: Celluloid Explosions From the Cultural Margim, eds. Robert G. Weiner and john Cline. Lanham: The Scarecrow Press, 2010, 244-66. Stevenson, jack. Lars Von Trier. London: BFI, 2002. Straayer, Chris. Deviant Eyes, Deviant Bodies: Sexual Re-Orientation in Film and Video. New York: Columbia University Press, 1996. Studlar, Gaylyn. In the Realm of Pleasure: Von Sternberg, Dietrich and the Masochistic Aesthetic. Urbana: University of Illinois Press, 1988. Tanner, Laura E. Intimate Violence: Reading Rape and Torture in Twentieth-Century Fiction. Bloomington: Indiana University Press, 1994. Taylor, Clyde R. The Mask of Art: Breaking the Aesthetic Contract-Film and Literature. Bloomington: Indiana University Press, 1998. Taylor, Kate. "Infection, Postcolonialism and Somatechnics in Claire Denis's Trouble Every Day." Studies in French Cinema 7.1 (2007): 19-29. , Memoirs, Garden City, N.Y: Doubleday, 1975, 144. Todorov, Tzvetan. The Limits of Art: Two Essays. Trans. Gila Walker, London: Seagull Books. Urban, Ken. "En Ethics of Catastrophe: The Theatre of Sarah Kane." PAJ: A Journal of Performance and Art. 13.3 (2001): 36-46. Vasse, Dave. Catherine Breillat: un cinema du rite et de Ia transgression. Paris: Complexe/Arte editions, 2004. Verhoeven, Deb. Jane Campion. London: Routledge, 2009. Vogel, Amos. Film as a Subversive Art [1974]. New York: C.T. Editions, 2005. von Dassanowsky, Robert. Austrian Cinema: A History. Jefferson, NC.: McFarland & Company, 2005. Walker, john A. Art and Outrage: Provocation, Controversy and the Visual Arts. London: Pluto Press, 1999. Walters, Tim. "Reconsidering The Idiots: Dogme 95, Lars von Trier, and the Cinema of Subversion?" The Velvet Light Trap 53 (Spring 2004): 40-54. Ward, Anna E. "Pantomimes of Ecstasy: BeautifulAgony.comand the Representation of Pleasure." Camera Obscura 73 (2010): 161-95. Wheatley, Catherine. "Europa Europa." Sight and Sound 18.10 (2008): 46-9. 17 6 Selected Bibliography

Wheatley, Catherine. Michael Haneke~s Cinema: Tile Ethic of the Image. New York: Berghahn Books, 2009. Wicke, jennifer. "Through a Gaze Darkly: Pornography's Academic Market." In More Dirty Looks: Gender, Pornography and Power, ed. Pamela Church Gibson. London: BFI, 2004, 176-87. Willemen, Paul. "For a l'ornoscape." In More Dirty Looks: Gender, Pornography and Power, ed. Pamela Church Gibson. London: BFI, 2004, 9-26. Williams, Linda. Hard Core: Power, Pleasure, and the "Frenzy of the Visible." Berkeley: University of California Press, 1989. Williams, Linda. "Film Bodies: Gender, Genre, and Excess." Film Quarterly 44.4 (1991): 2-13. Williams, Linda. "Corporealized Observers: Visual Pornographies and the 'Carnal Density of Vision."' In Fugitive Images: From Photography to Video, ed. Patrice Petro. Bloomington: Indiana University Press, 1995, 3-41. Williams, Linda. "Porn Studies: Proliferating Pornographies On/Scene. An Introduction." In Porn Studies, ed. Linda Williams. Durham: Duke University Press, 2004, 1-23. Williams, Linda. "Second Thoughts on Hard Core: American Obscenity Law and the Scapegoating of Deviance." ln More Dirty Looks: Gender, Pornography and Power, ed. Pamela Church Gibson. London: BFI, 2004, 165-75. Williams, Linda. Screening Sex. Durham: Duke University Press, 2008. Williams, Linda Ruth. The Erotic Thriller in Contemporary Cinema. Edinburgh: Edinburgh University Press, 2005. Williams, Melanic. Review of 9 Songs, Film Quarterly 59.3 (2006): 60. Wilson, Emma. "Etat Present: Contemporary French Women Filmmakers." French Studies 59.2 (2005): 217-23. Wimsatt, W. K., and M.C. Beardsley. "The Affective Fallacy." The Sewanee Review 57.1 (1949): 31-55. Wind, Edgar. Art and Anarchy [1964]. Evanston, Ill.: Northwestern University Press, 1985. Wollen, Peter. "Godard and Counter Cinema: Vent d'Est." Afterimage 4 (1972): 6-17. Wynter, Kevin. "Excesses of Millennia! Capitalism, Excesses of Violence: Several Critical Fragments Regarding the Cinema of Michael Haneke." Cineaction 70 (2006), 39-45. Notes

Introduction

1. David MacDougall, The Corporeal Image: Film, Ethnography, and the Senses, Princeton: Princeton University Press, 2006, 3. 2. Wayne Booth, The Company We Keep: An Ethics ofFiction, Berkeley: University of California Press, 1988, 17. 3. Andre Bazin, "Marginal Notes on Eroticism in the Cinema," What is Cinema? Volume 2 [1971], trans. Hugh Gray, Foreword by Fran~ois Truffaut, new Foreword by Dudley Andrew, Berkeley: University of California Press, 2005, 175. 4. Quoted in Brian McNair, Striptease Culture: Sex, Media and the Democratisation of Desire, London: Routledge, 2002, 17 4. 5. Anthony julius, Transgressions: The Offences of Art, London: Thames & Hudson, 2002, 10. 6. Consider for instance that some of the most canonical filmographies in cinema history, such as that of and Douglas Sirk, have been intimately associated with scopophilia and the pleasures of looking. Note also Christian Metz's conviction that cinema is voyeurism with an absent object. 7. Asbj0rn Gmnstad, Transfigurations: Violence, lJeath and Masculinity in American Cinema, Amsterdam: Amsterdam University Press, 2008, 188. 8. For an alternative conceptualization of the transgressive in relation to visuality, see Ingeborg Reichle and Steffen Siegel, eds, Maf5lose Bilder: Visue/le Asthetik der Transgression, Miinchen: Wilhelm Fink Verlag, 2009. In this anthology the visually transgressive, associated with notions of immoderation and invisibility, seems bound up less with normative than with epistemo• logical questions. 9. For the sake of clarity, it may be pointed out that there are at least two histo• ries of transgression, the aesthetic history and the history of the philosophy of transgression. These are richly intertwined. 10. Gmnstad, Transfigurations. 11. Lesley Stern, "The Body as Evidence," The Sexual Subject: A Screen Reader in Sexuality, ed. Screen, London: Routledge, 1992, 215. 12. For a discussion of transparency as a formal effect, see in P. Adams Sitney, Eyes Upside Down: Visionary Filmmakers and the Heritage of Emerson, Oxford: Oxford University Press, 2008, 275. 13. Paul de Man, The Resistance to Theory, Foreword by Wlad Godzich, Minneapolis: University of Minnesota Press, 1986, 10. 14. Martine Beugnet, Cinema and Sensation: French Film and the Art ofTransgression, Edinburgh: Edinburgh University Press, 2007, 68. 15. See for instance Alfred Gel!, Art and Agency: An Anthropological Theory, Oxford: Clarendon Press, 1998; Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey, Stanford: Stanford University Press,

177 178 Notes

2004; W. ]. T. Mitchell, What Do Pictures Want? The Lives and Loves of/mages, Chicago: University of Chicago Press, 2005; and Georges Didi-Huberman, Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman, University Park, PA.: Pennsylvania State University Press, 2005. As an aesthetic movement Dogme 95 has for instance been seen as presenta• tional rather than representational. See Anne )erslev, "Dogma 95, Lars von Trier's The Idiots and the 'Idiot Project"' Realism and "Reality" in Film and Media, ed. Anne Jerslev. Copenhagen: Museum Tusculanum Press, 2002, 48. 16. See Gilles Deleuze, Cinema 2: The Time-Image [1985], trans. Hugh Tomlinson and Robert Galeta, Minneapolis: University of Minnesota Press, 1989, 168. See also Cesare Casarino, "David Wojnarowicz, AIDS, and the Cinematic Imperative," Raritan, 20.4 (2001): 148. Mieke Bal has also suggested that certain works of art may have the status of "theoretical objects." See Mieke Bal, Quoting Caravaggio: Contemporary Art, Preposterous History, Chicago: University of Chicago Press, 1999, 5. 17. SeeBeugnet, 18. 18. See W.]. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation, Chicago: University of Chicago Press, 1994, 82; Kaja Silverman, The Threshold of the Visible World, New York: Routledge, 1996, 5; and D. N. Rodowick, Reading the Figural, or, Philosophy After the New Media, Durham: Duke UP, 2001. 19. Mitchell, What Do Pictures Want?, 9. 20. Julius, 197. 21. Siegfried Kracauer, Theory of Film: The Redemption of Pltysical Reality, London: Oxford University Press, 1960, 58. 22. McNair, Striptease Culture. 23. Michael Haneke, "Film als Katharsis," Austria (In) Felix: Zum Osterreichischen Film der BOer Jahre, ed. Francesco Bono, Graz: Edition Blimp/Rome: Aiace, 1992, 89. 24. Christopher Sharrett, "The World that is known: Michael Haneke inter• viewed," Kinoeye: New Perspectives on European Film, 4:1 (2004), par. 18. http:// www.kinoeye.org/04/0 1/i nterviewO 1. php

1 Against Commodification: Unwatchable Cinema and the Question of Ethics

1. For a discussion of the ambiguous generic status of Michael Haneke's films specifically, see David Sterritt, "A Shadow Poet: Michael Haneke," Cinema Inferno: Celluloid Explosions from the Cultural Margins, eds. Robert G. Weiner and John Cline, Lanham: The Scarecrow Press, 2010, 244-66. 2. Mattias Frey, "Tuning Out, Turning In, and Walking Off," Picturing Pain and the Ethics of Viewing, eds. Asbj0rn Gmnstad and Henrik Gustafsson, forthcoming from Routledge, 2012. See also Mikita Brottman, Offensive Films: Toward an Anthropology ofCinbna Vomitif, Westport, Conn.: Greenwood Press, 1997. 3. I shall return to this in Chapter 3, but as one may recall, cinematic hor• ror, defined as one of the three body genres, is closely associated with sadomasochism. See Carol J. Clover, "Her Body, Himself; Gender in the Notes 179

Slasher Film," Representations, 20 (1987): 187-228; and Linda Williams, "Film Bodies: Gender, Genre, and Excess," Film Quarterly, 44.4 (1991): 2-13. 4. The manifesto, read out loud in dramatic fashion by von Trier himself at the Odeon theater (the site of the 1968 student revolt), self-consciously alluded to the many aesthetic and political manifestoes of the nineteenth and twentieth centuries, as well as to Fran~ois Truffaut's legendary Cahiers essay from January 1954. Explicitly anti-auteurist and anti-artistic, its so-called Vow of Chastity famously advocated location shooting and hand• held cameras and rejected extra-diegetic sound, fabricated props, artificial lighting and filters, "superficial" action, historical or sci-fi plots and genre conventions. A decade and a half on, the Dogme manifesto has branched out from its Scandinavian setting to become a global phenomenon, encom• passing more than 200 films and turning transmedial by crossing over into different media and genres such as literature, dance, and computer game design. From what at first appeared to be just an ironic and calculated media gimmick, the dogme movement has expanded and transformed into something resembling a general filmmaking philosophy emphasizing real• ism and authenticity. 5. See Jack Stevenson, Lars Von Trier, London: BFI, 2002, 69. 6. The film was accompanied by the publication of the manuscript as a book prefaced by the Dogme 95 manifesto, von Trier's recorded diary and, later, the documentary De Ydmygede Oesper Jargil, 1999). When it aired on UK's Channel 4, von Trier's film was also recontextualized as a story about dis• ability and directly related to Anne Parisio's documentary about the sex lives of the disabled (Forbidden Pleasures, 2000) and Claire Lasko's examination of the offensiveness of The Idiots (Playing the Fool, 2000). 7. Caroline Bainbridge, The Cinema of Lars Von Trier: Authenticity and Artifice, London: Wallflower Press, 2007, 109. 8. James Quandt, "Flesh and Blood: Sex and Violence in Recent French Cinema," Artfomm, 46.6 (2004): 126. See also Jonathan Romney's discussion of these filmmakers in The Independent, September 12, 2004. 9. Ove Christensen,"Spasserfilm: Nrerhed og Distance i Idioteme," Nogne Billeder: De Danske Dogmefilm, ed. Ove Christensen, Copenhagen: Medusa, 2004, 52. 10. Bainbridge, 96; 97. 11. See the following websites: http:/ /dvd.monstersandcritics.com/news/ article_9 355. php; http:/ /www.moviemail-online.co. uk/scripts/ collection. pi ?ID=21; http:/ fwww. tartanvideo.co.uk/ht_asia_extreme.asp ?STID=4&C= 2&page=l. Accessed February 19, 2007. 12. John A. Walker, Art and Outrage: Provocation, Controversy and the Visual Arts, London: Pluto Press, 1999, 1. 13. Cashell, 1. 14. This conclusion is however contradicted by the continued existence of bodies such as the Board of Film Classification, implicitly suggesting that film and video games still have a potential for transgression that other artistic practices no longer have. There is also the function of what Sue Curry Jansen has termed "constitutive censorship," which implies the power to define what is beautiful, true, necessary, natural, perverse, and so on. See Sue Curry 180 Notes

Jansen, Censorship: The Knot that Binds Power and Knowledge, New York: Oxford University Press, 1991. 15. Larry Hartwick, "On The Aesthetic Dimension: A Conversation with Herbert Marcuse," Contemporary Literature, 22.4 (1981): 416. 16. Theodor W. Adorno, Aesthetic Theory [1970], trans. Robert Hullot-Kentor, London: Continuum, 1997, 2. 17. Ibid. 18. Rosalind Galt, "Pretty: Film Theory, Aesthetics, and the History of the Troublesome Image," Camera Obscura 71, 24:2 (2009): 1. 19. Adorno, 49; 338. 20. See Kieran Cashell, Aftershock: The Ethics of Contemporary Transgressive Art, London: I. B. Tauris, 2009, 8. Cashell argues that the objective of transgressive art practices is the destruction of the philosophy of disinterestedness and the aesthetic attitude itself. 21. In the early 1990s, the notion of the abject was addressed head-on in the exhi• bition Abject Art: Repulsion and Desire in American Art at the Whitney (1993). Two years earlier, the body was the theme of the Peter Greenaway-curated exhibition The Physical Self in Rotterdam, the year before that conceptual artist Joseph Kosuth's installation about censorship and art, The Museum Collection: The Play of he Unmentionable, was exhibited in New York. 22. Tomas McEvilley, "Art in the Dark," Artforum, 21 (Summer 1983): 63. 23. David ]oselit, "An Allegory of Criticism," October, 103 (Winter 2003): 3. 24. Herbert Marcuse, The Aesthetic Dimension: Toward a Critique of Marxist Aesthetics, 1977, Boston: Beacon Press, 1978, 40. 25. Ibid., ix. 26. Ibid., 6. 27. Ibid., 7. 28. Ibid., 11. 29. Ibid., 52. 30. Ibid., 45. 31. Ibid., 49. 32. Ibid., 72. 33. Ibid., 64. 34. Ibid., 58. 35. Julian Hanich, "Dis/liking disgust: the revulsion experience at the movies," New Review of Film and Television Studies, 7.3 (2009): 296. 36. Ibid., 306. 37. David Bordwell, Narration in the Fiction Film, Madison: University of Wisconsin Press, 1985, 205. 38. Christensen, 54. 39. Berys Gaut, "Naked Film: Dogma and its Limits," Purity and Provocation: Dogma 95, eds. Mette Hjort and Scott MacKenzie, London: BFI, 2003, 94. 40. Peter Schepelern, '"Kill Your Darlings': Lars von Trier and the Origin of Dogma 95," Purity and Provocation: Dogma 95, eds Mette Hjort and Scott MacKenzie, London: BFI, 2003, 65. 41. Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought, Berkeley: University of California Press, 1993, 425. 42. Michele Aaron, Spectatorship: The Power of Looking On, London: Wallflower, 2007, 98; 104. Notes 181

43. Jan Simon, Playing the Waves: Lars Von Trier's Game Cinema, Amsterdam: Amsterdam University Press, 2007, 66; 68; 69. Simon refutes the critical emphasis on realism and modernism prevalent in the commentary on von Trier's Dogme films and proposes instead that the director's project is about filmmaking as a game based on processes of modeling and simulation, 8. 44. See also Gaut, 94. 45. Bainbridge, 91. 46. Anne Jerslev, "Dogma 95, Lars von Trier's The Idiots and the 'Idiot Prokect'," Realism and 'Reality' in Film and Media, ed. Anne Jerslev, Copenhagen: Museum Tusculanum Press, 2002, 62. 47. "Idiot sex" is Linda Williams's term, see her Screening Sex, 268. For another read• ing of The Idiots in terms of the subversive, see Tim Walters, "Reconsidering The Idiots: Dogme 95, Lars von Trier, and the Cinema of Subversion?" The Velvet Light Trap, 53 (Spring 2004): 40-54. 48. Jerslev, 62. 49. Bainbridge, 94. See also Bill Nichols, Introduction to Documentary, Bloomington: Indiana University Press, 2001. 50. In Stefan Grissemann, "Discovery," Film Comment, 37.6 (2001): 16. 51. Mattias Frey, "Border Zones: The Films of Ulrich Seidl," Senses of Cinema, 32, 2004, http:/ /www.sensesofcinema.com/2004/32/ulrich_seidl/. 52. ," Dog Days," Chicago Sun-Times, October 17,2003, http:/ /rogerebert. suntimes.com/apps/pbcs.dll/article?AID=/20031017 /REVIEWS/310170302/ 1023. 53. Stefan Grissemann, "Discovery," Film Comment, 37.6 (2001): 16. 54. Richard Falcon, "Cruel Intentions," Sight and Sound, 9 (2001): 52. 55. Mark Peranson, "Tracking Shots," The Village Voice, October 16, 2002, 108. 56. Edward Guthmann, "Dog Days," San Francico Chronicle, October 3, 2003, http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2003/10/03/DD310146.DTL. 57. See Giorgio Agamben, Homo Sacer: Sovereign Power and Bare Life, trans. Daniel Heller-Roazen, Stanford: Stanford University Press, 1998. 58. Catherine Wheatley, "Europa Europa," Sight and Sound, 18:10 (2008): 47. 59. Falcon, 53. 60. Grissemann, 17. 61. Wheatley, 46. 62. Ibid., 47. 63. Falcon, 53. 64. Robert von Dassanowsky, Austrian Cinema: A History, Jefferson, NC.: McFarland & Company, 2005, 260-1. 65. See Falcon; Wheatley 46. 66. Frank Cordelle, Bodies and Souls: The Century Project, Ancaster, ON: Heureka Productions, 2006. 67. Quoted in Wheatley, 49. 68. Daniel Punday, Narrative Bodies: Toward a Corporeal Narratology, New York: Palgrave Macmillan, 2003. 69. Ibid., 12. 70. Nicole Brenez, De Ia figure en general et du corps en particulier, Brussels: De Baek, 1998. 71. Jerome Game, "Cinematic Bodies: The Blind Spot in Contemporary French Theory on Corporeal Cinema," Studies in French Cinema, 1.1 (2001): 47. 182 Notes

72. Mary Russo, The Female Grotesque: Risk, Excess and Modernity, New York: Routledge, 1995, 62. 73. Ibid., 65. 74. Kuhn, 30. 75. Kaja Silverman, Flesh of My Flesh, Stanford: Stanford University Press, 2009. 76. James Elkins, Pictures of the Body: Pain and Metamorphosis, Stanford: Stanford University Press, 1999, x. 77. Beugnet, 32. 78. W. J. T. Mitchell, What Do Pictures Want? The Lives and Loves of Images, Chicago: University of Chicago Press, 2005, 92. 79. Iris Murdoch, "The Sublime and the Good," Existentialists and Mystics: Writings on Philosophy and Literature, ed. Peter Conradi, New York: Penguin Books, 1999, 205-20. 80. Tzvetan Todorov, The Limits of Art: Two Essays, trans. Gila Walker, London: Seagull Books, 81. 81. Ibid., 87. 82. The abject, a concept intimately related to the transgressive, has undergone a similar cultural revaluation. See Martin Jay, "Abjection Overruled," Cultural Semantics: Keywords of Our Time, Amherst: University of Massachusetts Press, 1998, 146. 83. Julius, 25. This defense clearly hinges on the acceptance of the existence of a separate sphere for art. As inventions of the eighteenth century (Shaftesbury, Burke, Baumgarten), art and the aesthetics cannot necessarily lay any claim to universality, and in the postwar period their status as autonomous realms of experience has been challenged by sociologists, historians, postmodernism and the avant-garde itself. The idea of aesthetic purity has also been prob• lematized by, among others, Jacques Derrida. See his The Truth in Painting, trans. Geoff Bennington and Ian McLeod, Chicago: University of Chicago Press, 1987. Martin Jay has reviewed possible solutions to this dilemma, such as the concept of "strategic essentialism" (borrowed from Gayatri Spivak and Rosi Braidotti), which entails that art in specific cases may be defined as autonomous even though the argument would be generally unfeasible; the observation that the historicization of art does not mean that it does not exist; and finally the subsumption of art under the general defense of free speech. See Martin Jay, "The Aesthetic Alibi," Cultural Semantics: Keywords of Our Time, Amherst: University of Massachusetts Press, 1998, 111. 84. Julius, 102. 85. Susan Sontag, "The Pornographic Imagination," Styles of Radical Will, London: Seeker & Warburg, 1969, 45. 86. Susan Sontag, "The Aesthetics of Silence," Styles of Radical Will, New York: Farrar, Straus & Giroux, 1966, 8. 87. Linda Kauffman, Bad Girls and Sick Boys: Fantasies in Contemporary Art and Culture, Berkeley. University of California Press, 1998, 10; Julius, 108. 88. Amos Vogel, Film as a Subversive Art [1974], New York: C.T. Editions, 2005, 18. 89. Ibid., 125. 90. Ibid. 91. Ibid., 201. 92. Edgar Wind, Art and Anarchy [1964], Evanston, Ill.: Northwestern University Press, 1985, 8. Notes 183

93. Julius, 189. 94. See Elizabeth C. Childs, "Introduction," Suspended License: Censorship and the Visual Arts, ed. Elizabeth C. Childs, Seattle: University of Washington Press, 1998, 3-4. 95. Michael Kammen, Visual Shock: A History of Art Controversies in American Culture, New York: Alfred A. Knopf, 2006, xxiv; xi. 96. Julius, 195. 97. Stanley Cavell, "A Matter of Meaning It," in Must We Mean What We Say? A Book of Essays, Cambridge: Cambridge University Press, 1960, 236. 98. While I do to some extent draw upon reviews of the films considered, mostly to illustrate theoretical arguments, a more comprehensive and systematic study of the public reception of unwatchable cinema would clearly require a book of its own.

2 Entropic Cinema, or Trouble Every Day

1. Quoted in Christopher Sharrett, "The World That is Known," "The World that is known: Michael Haneke interviewed." Kinoeye: New Perspectives on European Film 4.1 (2004): http://www.kinoeye.org/04/01/interviewOl.php. Accessed September 1, 2006. 2. Roger Ebert, Review of Im!versible, Chicago Sun-Times, March 14, 2003. http:/ /rogerebert. suntimes.com/ apps/pbcs.dll/ article? AID=/20030314/ REVIEWS/303140303/1023. 3. Roger Ebert, "Cannes #5: Even now already is it in the world," Roger Ebert's Journal, May 17, 2009. http:/ /blogs.suntimes.com/ebert/2009/05/for_even_ now_already _is_it_in.html. 4. Ibid. 5. Roger Ebert, "Cannes #6: A Devil's Advocate for Antichrist," Roger Ebert's Journal, May 19, 2009. http://blogs.suntimes.com/ebert/2009/05/a_devils_ advocate_for_antichri.html. 6. Mitchell, What Do Pictures Want? 140. 7. Catherine Breillat, Pornocratie, Paris: Denoel, 2001. 8. Catherine Breillat, Anatomie de l'en(er, CB Films et a!., 2004. 9. Merriam-Webster, "Unwatchable." http:/ /www.merriam-webster.com/dictionary/ unwatchable. 10. Some of the key titles in this corpus are The Idiots (Lars von Trier, 1998), La Pianiste (Michael Haneke, 2001), Ken Park (Larry Clark & Edward Lachman, 2002), A Snake of June (Tsukamoto, 2002), The Dreamers (Bertolucci, 2003), The Brown Bunny (Vincent Gallo, 2003), Alexandra's Project (, 2003), 9 Songs (Micahael Winterbottom, 2004), Anatomy o( Hell (Catherine Breillat, 2004), Cache (Haneke, 2005), Battle in Heaven (Carlos Reygadas, 2005), The Wayward Cloud (Tsai Ming-liang, 2005), Taxidermia (Gyorgy Palfi, 2006), Shortbus (John Cameron Mitchell, 2006), and Import/Export (Ulrich Seidl, 2007), to name some of the recurring titles associated with the new brutalist trend. The specifi• cally French films that belong to this tradition will be detailed in Chapter 4. 11. See for instance George Poulet's concept of the "inhabitation of another," in "Phenomenology of Reading," New Literary History, 1 (1969): 55; Jonathan Culler's notion of "dissolution," in Structuralist Poetics: Structuralism, Linguistics 184 Notes

and the Study o( Literature, London: Routledge, 1975, 28; Norman Holland's notion of the effaced self, in "Unity Identity Text Self," Reader-Response Criticism: From Formalism to Post-Structuralism, ed. Jane P. Tompkins, Baltimore: Johns Hopkins University Press, 1980; Roland Barthes's idea of "ecstatic loss," in "Theory of the Text," Untying the Text: A Post-Structuralist Reader, ed. Robert Young, Boston: Routledge, 1981, 32; and Wayne Booth's suggestion that the text occupies the self, in The Company We Keep. 12. Aaron, 92. 13. Richard Rushton, "Deleuzian Spectatorship," Screen 50.1 (2009): SO. With regard to the theory of immersion, Rushton mentions the work of Oliver Grau, Ron Burnett, and Martin Rieser. 14. Brigitte Peucker, The Material Image: Art and the Real in Film, Stanford: Stanford University Press, 2007, 141. 15. Mary Ann Caws, The Art o( Interference: Stressed Readings in Verbal and Visual Texts, Cambridge: Polity Press, 1989, 135; 136. 16. Martin Jay, Downcast Eyes, 258. 17. Ibid. 18. Such is Von Trier's cinematic notoriety that his work was the subject of a "special report" in the American satirical news publication The Onion, "Denmark introduces harrowing New Tourism Ads directed by Lars Von Trier." One of the segments shows a deranged mother pursuing her son through the woods, even• tually shooting him in the head. The Onion, February 24 2009. http://www. theonion.com/content/video/denmark_introduces_harrowing_new. 19. Virginie Selavy, "Interview with Lars Von Trier," Electric Sheep, July 3, 2009. http:/ /www.electricsheepmagazine.co. uk/features/2009/07/03/antichrist• interview-with -lars-von -trier/. 20. The anthropomorphizing of nature seems to be a recurrent motif across a range of cultural artifacts of the naughties, richly evident in the work of the folk ensemble The Handsome Family and in a record such as Neko Case's Middle Cyclone (ANTI-, 2009). 21. See for instance http:/ /www.theauteurs.com/topics/6030. 22. Ralph Waldo Emerson, Nature [1836], Boston & Cambridge: James Munroe & Company, 1849. 23. See Les Blank, dir., Burden o( Dreams, Flower Films, 1982. 24. Richard Slotkin, "Dreams and Genocide: The American Myth of Regeneration Through Violence," The Popular Culture Reader, eds. jack Nachbar, Deborah Weiser, and John L. Wright, Bowling Green: Bowling Green University Popular Press, 1978, 52. See also Richard Slotkin, Regeneration Through Violence: The Mythology o(the American Frontier, 1600-1860 [1973], Norman: University of Oklahoma Press, 2000. 25. See for instance Aaron Hillis, "Sexual Perversity in Denmark: An Interview with Lars von Trier," JFC, October 21, 2009. http://www.ifc.com/news/2009/10/ lars-von-trier.php. 26. A slew of other intertexts have also been brought up in the criticism on Antichrist, from the painting of Hieronymus Bosch and Peter Paul Rubens to Antonioni's Red Desert (1964), and the work of Peter Greenaway, Damien Hirst, and Robert Flanagan. See Daniel Vilensky, "Antichrist: Chronicles of a Psychosis Foretold," Senses o(Cinema 53 (2009). http://www.sensesofcinema. com I 2009 I feature-articles/ antichrist -chro ni cles-o f-a-psychosis-foretold/. Notes 185

27. Robert Frost, "Home Burial," North ofBoston, London: David Nutt, 1914. I owe this observation to my colleague 0yvind Vagnes, who first brought up the poem in a conversation about Antichrist in Bergen on February 23, 2010. 28. This is Genette's term. See Gerard Genette, Palimpsestes: La Litterature au Second Degre, Paris: Seuil, 1982, 356. 29. The music that plays over the prologue is Georg Friedrich Handel's aria "Lascia ch'io pianga" from the Italian opera Rinaldo (first performed in London in 1711). Concerning a request to be released from agony, the libretto could be read as a comment on the function of sex in Antichrist. 30. Martin Harries, Forgetting Lot's Wife: On Destructive Spectatorship, New York: Fordham University Press, 2007, 9. 31. Ibid., 8, 14. 32. Ibid., 14. 33. See Gaylyn Studlar, In the Realm of Pleasure: Von Sternberg, Dietrich and the Masochistic Aesthetic, Urbana: University of Illinois Press, 1988, 76. 34. Sontag, "The Aesthetics of Silence," 12. 35. On the website GreenCine, Noe's film is ranked as number one in Simon Augustine's overview "25 Most Disturbing Movies," just ahead of Sa/a and Last House on the Left. 36. This first chapter of the film actually consists of separate shots morphed together digitally in post-production. The episode is made up of roughly thirty fragments joined together seamlessly by a series of hidden cuts. 37. The scene was supposedly inspired by a in which a man's face is blasted off in an execution in Lebanon. 38. This motif of mistaken identities and violence is also present in Noe's Carne (1991), in which the butcher protagonist revenges himself on the wrong man. 39. Allan Cameron, "Contingency, Order, and the Modular Narrative: 21 Grams and Irreversible," The Velvet Light Trap, 58 (2006): 71 40. Richard Slatkin, Gunfighter Nation: The Myth of the Frontier in Twentieth- Century America [1992, Norman: University of Oklahoma Press, 1998, 597. 41. Ibid., 65. 42. ]. W. Dunne, An Experiment With Time, London: A. & C. Black, 1927. 43. Brottman and Sterritt, 39. 44. Arthur Schopenhauer, Essays and Aphorisms, sel. and trans. R. J. Hollingdale, London: Penguin Books, 1970, 51. 45. Sontag, "The Pornographic Imagination," 45. 46. Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art, London: Oxford University Press, 1972, 63. 47. W. K. Wimsatt & M. C. Beardsley, "The Affective Fallacy," The Sewanee Review, 57:1 (1949): 31-55.

3 Bodies, Landscapes, and the Tropology of Inertia

1. See Asbjorn Gronstad, "Dead Time, Empty Spaces: Landscape as Sensibility and Performance," Exploring Textual Action, eds Lars S

3. Angela Carter, The Sadeian Woman and the Ideology of Pornography, New York: Pantheon Books, 1978, 9. 4. Intrinsic to this story of screen sex and changing sexual mores throughout the twentieth century are the many acts of censorship. In the UK alone, a long list of films, from the silent era to the contemporary period, were bowdlerized or suppressed: A Fool There Was (1916, banned); Flesh and the Devil (1926, cut by 23 minutes); Battleship Potemkin (1926, banned); Mother (1928, banned); Pandora's Box (1929, cut by 1/3); Casanova (1929, banned); Red-Headed Woman (1933, banned but certificate granted in 1965); No Orchids for Miss Blandish (1948, cut by 11 minutes, banned in Surrey); La vie commence demain (1951, the first movie to receive the X certificate); The Garden of Eden (1955, banned, but showed in local theatre, as a result the BBFC relaxed its rules and permitted non-frontal nudity in non-features and some foreign films); Room at the Top (1959, which caused a sensation due to frank discussions of sex); Les Amants (1959, from which a cunnilingus scene was partially cut); Peeping Tom (1960, banned locally); Saturday Night and Sunday Morning (1960, passed but banned locally); Victim (1961, first film to deal openly with homosexuality, was granted an X certificate); Lolita (1962, subject to script changes); Trans-Europ-Express (1967, banned due to depictions of sexual sadism); I am Curious-Yellow (1967, first banned, later cut); The Switchboard Operator (1967, banned, due to shots of pubic hair): Performance (1969, cut and delayed by two years); Women in Love (1969, first display of male genitals, shots were blurred); Flesh (1970, which was seized by the police, the first film to show an erect penis on British screens); Straw Dogs (1971, passed with an X certificate, but refused a video certificate); A Clockwork Orange (banned locally, withdrawn by the director himself in 1973); The Devils (1971, passed after many cuts, banned by 17 local coun• cils); Last House on the Left (1972, banned); Last Tango in Paris (1972, which was passed with a 10-second cut, later privately prosecuted by the National Festival of Light in 1974); More About the Language of Love (1975, Swedish sex education film prosecuted by a private individual); Salo (1975, confiscated by the police, relegated to Compton Cinema Club); Ilsa, She-Wolf of the SS (1976, banned); Maitresse (1976, banned); In the Realm of the Senses (1976, not submitted, later given an 18 certificate after optical doctoring in 1991); Pretty Baby (1978, subjected to optical tricks); Caligula (1979, drastically) cut; and The Tin Drum (1979, cut). 5. Linda Williams, "Philosophy in the Bedroom: Sex and the contemporary since the Eighties," lecture University of Bergen, June 19, 2006. 6. See for instance Lester Keyser, "Sexuality in Contemporary European Film," Sexuality in the Movies, ed. Thomas A. Atkins, New York: Da Capo Press, 1984, 187. 7. Sam Frank, Sex in the Movies, Secaucus, N.J.: Citadel Press, 1986. Before screen sexuality became a subject of serious research, there were numerous popular or semi-academic books on sex in films available. These usually richly illustrated• publications often detail the history of censorship. A case in point is Thomas R. Atkins's Sexuality in the Movies (1984), which features articles like John Baxter's "Screen Sexuality: Flesh, Feathers, and Fantasies," which argues that a successful rendering of sex depends on mood and "symbology" rather than theme or real• ism. Baxter, 28. Notes 187

8. Paul Willemen, "For a Pornoscape," More Dirty Looks: Gender, Pornography and Power, ed. Pamela Church Gibson, London: BFI, 2004, 22. 9. See Jonathan Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Cambridge, Mass.: The MIT Press, 1990. See also Linda Williams, "Corporealized Observers: Visual Pornographies and the 'Carnal Density of Vision,"' Fugitive Images: From Photography to Video, ed. Patrice Petro, Bloomington: Indiana University Press, 1995, 3-41. 10. Allison Pease, Modernism, Mass Culture and the Aesthetics of Obscenity, Cambridge: Cambridge University Press, 2000, 36. 11. Ibid., 193. 12. When English literature was institutionalized as a discipline in the univer• sity, its first critical orientation was modernist. While major proponents like Eliot and Leavis scoffed at mass culture, they still advocated the aesthetic appropriation of corporeal effects more readily associated with popular gen• res. In an essay on Dante, for instance, the former talked about the "direct shock of poetic intensity." See T. S. Eliot, "Dante," Selected Essays, New York: Harcourt Brace & World, 1960, 200. 13. Linda Williams, "Porn Studies: Proliferating Pornographies On/Scene. An Introduction," Porn Studies, ed. Linda Williams, Durham: Duke University Press, 2004, 3. 14. Lynda Nead, "Bodies of Judgment: Art, Obscenity, and the Connoisseur," Law and the Image: The Authority of Art and the Aesthetics of Law, eds Costas Douzinas and Lynda Nead, Chicago: University of Chicago Press, 1999, 204. 15. An extended corpus of post-millennia! art films that revolve around sexuality would include, among others, Pola X (Leos Carax, 1999), Le pornographe (Bertrand Bonello, 2001), Sex and Lucia (Julio Medem, 2001), Jap6n (Carlos Reygadas, 2002), The Raspberry Reich (Bruce LaBruce, 2004), Antares (Gbtz Spielmann, 2004), Der Freie Wille (Mathias Glasner, 2006), and Lust, Caution (, 2007). These titles are in addition, obviously, to the films discussed in other chapters. 16. Judith Butler, Excitable Speech: A Politics of the Performative, New York: Routledge, 1997, 133. See also Jacques Derrida's discussion of the frame and the boundary of the aesthetic object in The Truth in Painting, trans. Geoff Bennington and Ian McLeod, Chicago: University of Chicago Press, 1987. 17. Linda Williams, Screening Sex, Durham: Duke University Press, 2008. 18. Linda Williams, "Philosophy in the Bedroom," 1. 19. Ibid., 295. 20. Amos Vogel, Film as a Subversive Art, 219. 21. Brian McNair, "From Porn Chic to Porn Fear: The Return of the Repressed?" Mainstreaming Sex: The Sexualization of Western Culture, ed. Feona Attwood, London: I. B. Tauris, 2009, 60-5. 22. Nick Roddick, "Mr. Busy," Sight and Sound, 16.8 (2006): 12. 23. In Ken Urban, "An Ethics of Catastrophe: The Theatre of Sarah Kane," PAJ, 13.3 (2001): 40. 24. Clover, "Her Body," 189; Williams, "Film Bodies." 25. Williams, "Film Bodies," 5. 26. Raymond Durgnat, Sexual Alienation in the Cinema, London: Studio Vista, 1972, 9. 27. Carter, 19. 28. Ibid. 188 Notes

29. joel Kovel, "The Antidialectic of Pornography," Men Confront Pornography, ed. MichaelS. Kimmel, New York: Crown Publishers, 1990, 153-67, 154. 30. Peter Greenaway, "Toward a re-invention of Cinema," Cinema Militans Lecture, 28 September 2003, http://petergreenaway.co.uk/essay3.htm. Accessed April 7, 2008. 31. Leo Charney, Empty Moments: Cinema, Modernity, and Drift, Durham: Duke University Press, 1998, 7. 32. See for instance Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, London: Athlone Press, 1988. 33. Charney, 7. 34. Williams, "Philosophy in the Bedroom," 8. 35. Richard Falcon, "Last Tango in Lewisham," Sight and Sound, july 2001. http:/I www.bfi.org.uk/sightandsound/feature/491. 36. Stephen Hunter, "Intimacy: Too-candid camera," Washington Post, December 26, 2001, http://www.highbeam.com/doc/1P2-491006.html. 3 7. Michael Atkinson, "Sweaty Bottoms hit Rock Bottom in New Winterbottom," The Village Voice, july 12, 2005, http://www.villagevoice.com/2005-07-12/ film/sweaty-bottoms-hit -rock-bottom -in-new-winterbottom/. 38. See David Bordwell, Narration in the Fiction Film, 274-310. 39. Melanie Williams, Review of 9 Songs, Film Quarterly, 59:3 (2006): 60. 40. Adrian Danks, "Travellin' Light." Senses of Cinema 31 (2004), http://www. sensesofcinema.com/2004/cteq/vendredi_soir/ Accessed August 31, 2006. 41. Beugnet, 82. 42. Ibid., 95. 43. Roger Ebert, "The Brown Bunny," September 3, 2004, http://rogerebert.sun• times.com/apps/pbcs.dll/article?AID=/20040903/REVIEWS/409020301/1023. After the Cannes screening, Gallo removed 26 minutes worth of footage, and Ebert published the above review, in which he tempered his initial reaction. 44. David Edelstein, " Bunny," Slate, September 10, 2004, http://www. slate.com/id/21 0617 4/. 45. j. Hoberman, "The Penis Mightier," The Village Voice, August 17, 2004, http://www.villagevoice.com/2004-08-17 /film/the-penis-mightier/1/. 46. Edelstein. 47. Cynthia Fuchs, "The Brown Bunny," PopMatters, September 17, 2004, http:// www. popmatters.com/pm/review/brown-bunny I. 48. Nathan Lee, "A Legend in the Making," The New York Sun, August 27, 2004, http://www.nysun.com/arts/legend-in-the-making/953/. 49. Neva Chonin, "A motorcycle racer rides in circles trying to find himself and his old flame," San Francisco Chronicle, September 3, 2004, http://articles. sfgate.com/ 2004-09-03/entertainment/17445646_1_brown-bunny-vincent• gallo-obsession. 50. For the source of this term, se Asbj0rn Gnmstad, "Topographies of Defeat: Masculiniy and Desolation in Fat City and Junior Bonner," Kinema: A Journal for Film and Audiovisual Media, 16 (2001): 33-48. 51. jean Baudrillard, America [1986], London: Verso, 1988, 63. 52. Edward Abbey, Desert Solitaire: A Season in the Wilderness, New York: Ballantine Books, 1968, 330. 53. For literature on representations of rape in fictional works, see Laura E. Tanner, Intimate Violence: Reading Rape and Torture in Twentieth-Century Fiction, Notes 189

Bloomington: Indiana University Press, 1994. See also the collection Rape in Art Cinema, ed. Dominique Russell, London: Continuum Press, 2010. 54. J. Hoberman, "Lost Highway," The Village Voice, March 30, 2004, http:// www. villagevoice.com/2004-03-30/film/lost-highwayI. 55. Dennis Lim, "Desert Blue," The Village Voice, September 9, 2003, http://www. villagevoice.com/2003-09-09 /film/desert-blue/1/. 56. Lisa Nesselson, "Twentynine Palms," Variety, September 2, 2003, http://www. variety.com/review/VE1117921682.html?categoryid=31&cs=l. 57. Hoberman, "Lost Highway." 58. See Marc Auge, Non-Places: Introduction to an Anthropology of Supermodemity, trans. John Howe, London: Verso, 1995, and Gilles Deleuze, Cinema 1: The Movement-Image [1983], trans. Hugh Tomlinson & Barbara Habberjam, London: The Athlone Press, 1986, 111. 59. See Gmnstad, "Dead Time." 60. Other examples might be Mother and Son (Aleksandr Sokurov, 1997), Jap6n (Carlos Reygadas, 2002), Gerry (Gus Van Sant, 2002). The Weeping Meadow (Theo Angelopoulos, 2004), The New World (, 2005), The Banishment (Andrei Zvyagintsev, 2007), Into the Wild (, 2007), Silent Light (Reygadas, 2007) and Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010). 61. For an account of dedramatization in the postwar art cinema, see David Bordwell, Figures Traced in Light: On Cinematic Staging, Berkeley: University of California Press, 2005. 62. W. ]. T. Mitchell, "Imperial Landscape," Landscape and Power, ed. W. J. T. Mitchell, Chicago: University of Chicago Press, 1994, 5. 63. Sergei M. Eisenstein, Nonindifferent Nature, trans. Herbert Marshall, Cambridge: Cambridge University Press, 1987, 355. 64. See Andre Bazin, "The Western: or the American Film Par Excellence," What is Cinema? Volume 2 [1971], trans. Hugh Gray, foreword Fran"ois Truffaut, new fore• word Dudley Andrew, Berkeley: University of California Press, 2005, 140-8; D. W. Meinig, "Symbolic Landscapes: Some Idealizations of American Communities," The Interpretation of Ordinary Landscapes, ed. D. W. Meinig, New York: Oxford University Press, 1979, 175; and Paula Marantz Cohen, Silent Film and the Triumph of the American Myth, Oxford: Oxford University Press, 2001, 81. 65. Jean-Luc Nancy, The Ground of the Image, trans. Jeff Fort, New York: Fordham University Press, 2005, 53; 59. 66. Mitchell, "Imperial Landscape," 15. 67. John Jervis, Transgressing the Modem: Explorations in the Western Experience ofOthemess, Oxford: Blackwell, 1999, 164. 68. Bazin, "Marginal Notes on Eroticism in the Cinema" What is Cinema? Volume 2 [1971], trans. Hugh Gray, foreword by Fran"ois Truffaut, new foreword by Dudley Andrew, Berkeley: University of California Press, 2005, 173. 69. Linda Williams, "Corporealized Observers: Visual Pornographies and the 'Carnal Density of Vision,"' Fugitive Images: From Photography to Video, ed. Patrice Petro, Bloomington: Indiana Univrsity Press, 1995, 12. Williams is careful to point out, however, that there is no necessary correspondence between the degree of explicitness and the degree of obscenity. Ibid., 33. 70. Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-Orientation in Film and Video, New York: Columbia University Press, 1996, 7. 190 Notes

71. For one advocate of this stance, see for instance Lynda Nead, "Bodies of Judgment," 216. 72. Ruth McCormick, "In the Realm of the Senses," Cineaste, 7: 4 (1976): 32. 73. Williams, "Philosophy in the Bedroom." 74. Williams, Screening Sex, 324.

4 Spaces of Impropriety

1. See for instance Peter Stallybrass and Allan White's The Politics and Poetics of Transgression, London: Methuen, 1986. 2. Clyde R. Taylor, The Mask of Art: Breaking the Aesthetic Contract-Film and Literature, Bloomington: Indiana University Press, 1998, 59. 3. MacDougall, 1. 4. See Claire Johnston, "Women's Cinema as Counter-Cinema," in Feminism and Film, ed. E. Ann Kaplan, Oxford: Oxford University Press, 2000, 25, and Laura Mulvey, "Visual Pleasure and Narrative Cinema," Screen 16: 3 (1975), 36. The "semi-movement" referred to consists in part of a series of con• troversial films made by directors such as Catherine Breillat, Claire Denis, Jane Campion, Virginie Despentes, Lynne Ramsay, Michael Haneke, Carlos Reygadas and Michael Winterbottom in the period from circa 1999 to the present. Some of these filmmakers have a longer history of making provoca• tive art, of course, and while the importance of previous feminist cinema from Dielman to (not to mention the legacy from Maya Deren in avant-garde film) should be duly acknowledged, it can be argued, I think, that it is only with the group of films spearheaded by Breillat's Romance and Anatomy of Hell that narrative cinema has faced up to the theoretical challenge of Johnston's and Mulvey's texts. 5. Galt, 2. 6. Ibid., 7. 7. The canonization of Breillat, Campion and, above all, Denis as some of the foremost contemporary arthouse directors is also reflected in the increased scholarly attention their ouevres have received recently. See for instance Dave Vasse, Catherine Breillat: un cinema du rite et de Ia trans• gression, Paris: Complexe/Arte editions, 2004; Claire Clouzot, Catherine Breillat: Indecence et purete, Paris: Cahiers du cinema, 2004; Douglas Keesey, Catherine Breillat, Manchester: Manchester University Press, 2009; Dana B. Polan, Jane Campion, London: BFI, 2001; Chiara Mangiarotti, Figure di donna nel cinema di fane Campion: una lettura psicoanalitica, Milan: F.Angeli, 2002; Kathleen Anne McHugh, Jane Campion, Urbana: University of Illinois Press, 2007; Deb Verhoeven, Jane Campion, London: Routledge, 2009; Alistair Fox, fane Campion: Authorship and Personal Cinema, Bloomington: Indiana University Press, 2011; Martine Beugnet, Claire Denis, Manchester: Manchester University Press, 2004; judith Mayne, Claire Denis, Urbana: University of Illinois Press, 2005; and Cedric Mal, Claire Denis: cineaste ii part, et cntiere, Paris: Editions de Vemeuil, 2007. 8. Stern, "The Body as Evidence," 218. 9. See Chris Straayer, 7, and Studlar, 1. The point of departure for Studlar's argument is the Mulveyan contingency that "dominant narrative cinema's Notes 191

pleasures rest on male psychic mechanisms-fetishism, voyeurism, and scopophilia-which inscribe pleasureable (and power-landen) patterns of looking between spectator and screen" (2). These questions revolve centrally, then, around who has access to visual pleasure as well as how women are being represented on screen. Studlar wants to revise feminist psychoanalytical film theory and outlines an "alternative theory of visual pleasure" (3). It seems somewhat hazardous to build a theory of representational resistance on the assumption that visual pleasure may be fundamentally gendered, however, and the more aggressive politics implicit in the negation of pleasure seems more capable of subverting entelechial representation. 10. Griselda Pollock, "What's Wrong with 'Images of Women'?" The Sexual Subject: A Screen Reader in Sexuality, ed. Screen, London: Routledge, 1992, 135-45; 142. 11. Camilla Griggers, Becoming-Woman, Minneapolis: University of Minnesota Press, 1997, x. 12. Mulvey, 8. 13. This appears to have been the director's own concept for the film as well. See Geoffrey Macnab, "Sadean Woman," Sight and Sound 14: 12 (2004), 22. 14. Anatumie de l'enfer caused vehement critical opprobrium among many reviewers upon its release. Most ferocious of all was perhaps Manohla Dargis's attack on the film in the New York Times, in which she wrote off the film as a self-parody from a director who has "finally exhausted her resources." See Manohla Dargis, "Strangers squirrel themselves away for four nights of sex and zero nights of fun," The New York Times, 15 October 2004, 12. Breillat's film was likewise lambasted in publications such as The New Republic, LA Weekly, New York Post, , Chicago Sun-Times, The Globe and Mail, Entertainment Weekly, and Film Comment. Anatomic de l'enfer was also badly received by the audience upon its world premiere at the International Film Festival in Rotterdam on 23 January 2004. It may be noted that Pornocratie was published the same year as a much discussed book by another French Catherine, namely Catherine Millet, whose slightly scan• dalous La vie sexuelle de Catherine M may be seen to provide an additional contextualizing frame within which to ponder Breillat's work. 15. Martha C. Nussbaum, Hiding From Humanity: Disgust, Shame, and the Law, Princeton: Princeton University Press, 2004, 136. 16. Ibid., 137. 17. In Australia, for instance, the film was banned upon its initial release in January 2000. 18. Willemen, 14. 19. Annette Kuhn, The Power of the Image: Essays on Representation and Sexuality, London: Routledge & Kegan Paul, 1985, 30. 20. Kaja Silverman, The Threshold of the Visible World, 227. 21. A full discussion of the film's imagery is beyond the scope of this article. Suffice it to say here that Siffredi at various points compares the labia to a frog and a bird. There are, secondly, the palpable references to religious symbolism (the chalice, the crucifix on the wall, and Casar's Christ-like posi• tion on the bed). Mythological figures such as Lilith, Adriane and Ophelia are also alluded to, explicitly in the novel, more obliquely in the film. Finally, the gothic setting itself-a solitary mansion overlooking some sea 192 Notes

cliffs-resonates with a significance both generic and thematic, as it points simultaneously both to de Sade and to the narrative of the female victim as epitomized by du Maurier's and Hitchcock's Rebecca. 22. The director conceived of Anatomie de l'enfer as a sequel to Romance, which may in part explain the emphasis on formal and thematic continuities in the later film. 23. Two other recent films employ the figure of the pierced skin as a trope for sex• ual aberration and trauma: Marina de Van's Dans rna peau/In My Skin (2002) and Jane Campion's In the Cut (2003), discussed in more detail below. 24. It is not altogether impossible that the allusion may be intended, given not only that the plot of Anatomie de l'enfer is intelligible as four nights of a dreamer but also that Bresson is a principal source of inspiration for Breillat. 25. Macnab, "Sadean Woman," 22. 26. Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema, Urbana: University of Illinois Press, 1990, 2. 27. Ibid., 4; 2. 28. Macnab, "Sadean Woman," 22. 29. Emilie Bickerton, Review of Anatomy of Hell, Sight and Sound 15: 1 (2004), 42. 30. Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, New York: Vintage Books, 1991, 11. 31. Laura U. Marks, Touch: Sensuous Theory and Multisensory Media, Minneapolis: University of Minnesota Press, 2002, ix. 32. W. ]. T. Mitchell, "Visual Literacy or Literary Visualcy," Visual Literacy, ed. ]ames Elkins, New York: Routledge, 2008, 13. 33. Paul Willemen, "For a Pornoscape," 9. 34. Ibid., 14. 35. Julia Kristeva, Powers of Horror: A Essay on Abjection, trans. Leon S. Roudiez, New York: Columbia University Press, 1982, 4. 36. Brian Price, for instance, has assered that for Breillat, "the visual display of sex is inseparable from the representation of the consciousness of her female characters." See Brian Price, "Catherine Breillat," Senses of Cinema 23 (2002), http://www.sensesofcinema.com/ contents/directors/02/breillat.html. 37. Adrian Martin, "'X' Mark the Spot: Classifying Romance," Senses of Cinema 4 (2000), http:/ /www.sensesofcinema.com/contents/00/4/romance.html. 38. Bickerton, 42. 39. Silverman, 227. 40. Linda Ruth Williams, The Erotic Thriller in Contemporary Cinema, Edinburgh: Edinburgh University Press, 2005, 419. 41. Laura U. Marks, The Skin of the Film: Interwltural Cinema, Embodiment, and the Senses, Durham: Duke University Press, 2000, 162. 42. Ibid., 163. 43. Claire Johnston, 25. 44. Stern, 218. 45. Ibid., 419. 46. Ibid., 419. 47. Ibid., 419. 48. Lynda Nead, The Female Nude: Art, Obscenity and Sexuality, London: Routledge, 1992, 6. 49. Linda Ruth Williams, 419. SO. Mary Ann Doane, "Film and the Masquerade: Theorising the Female Spectator," Screen 23: 3-4 (1982), 77. Notes 193

51. See Mulvey, 8. 52. Linda Williams, Hard Core: Power, Pleasure, and the 'Frenzy o( the Visible,' Berkeley: University of California Press, 1989. 53. See E. Ann Kaplan, "Introduction," Feminism and Film, ed. E. Ann. Kaplan, Oxford: Oxford University Press, 2000, 2. 54. Teresa de Lauretis, Technologies o( Gender: Essays on Theory, Film, and Fiction, Bloomington: Indiana University Press, 1987, 146. 55. Kantian aesthetics is governed by a set of distinctions between form and matter, aesthetic and sensuous pleasure, and free and dependent beauty. Undergirding this philosophy is the notion of the detached aesthetic object and the faculty of disinterested contemplation. 56. Alison Butler, Women's Cinema: The Contested Screen, London: Wallflower, 2002, 16. 57. Meaghan Morris, Too Soon Too Late: History in Popular Culture, Bloomington: Indiana University Press, 1998, xvii. 58. Eric Henderson, "Ma Mere," Slant Magazine, May 12, 2005. http://www.slant• magazine.com/film/review/ma-mere/15 11. Accessed September 18, 2010. 59. Jessica Winter, "The Mother and the Whore," The Village Voice, May 3, 2005. http://www. villagevoice. com/2005-05-03 I film/the-mother-and- the-whore/. 60. Mick LaSalle, "Ma Mere," San Francisco Chronicle, july 29, 2005. http://www. sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/07 /29 /DOG RNDUJ C41. DTL. 61. John Jervis, Transgressing the Modem: Explorations in the Western Experience o( Otherness, Oxford: Blackwell, 1999, 159. 62. Peter Brunette, Michael Hmzeke, Urbana: University of Illinois Press, 2010, 95. 63. One obvious reference point for the ironic use of classical music to accom• pany scenes of sexualized violence is 's A Clockwork Orange (1971). 64. Brunette, 102. 65. Catherine Wheatley, Michael Haneke's Cinema: The Ethic of tlze Imase, New York: Berghahn Books, 2009, 136. 66. Ibid., 114. 67. Bert Cardullo, "Shoot the Piano Player," The Hudson Review, 56: 3 (2003), 525. 68. Ibid., 132. 69. james Elkins, viii 70. Fatima Naqvi & Christophe Kone, "The Key to Voyeurism: Haneke's Adaptation of Jelinek's The Piano Teacher," On Michael Haneke, eds, Brian Price & John David Rhodes, Detroit: Wayne State University Press, 2010, 139. 71. Wheatley, 137. 72. Brunette, 91. 73. Emma Wilson, "Etat Present: Contemporary French Women Filmmakers," French Studies, 59: 2 (2005), 217-23; 222. 74. Derek Elley, "Trouble EveryDay," Variety, March 14,2001, http://www.variety. com/review/VE1117798064?refcatid=31. 75. Andrew O'Hehir, "Trouble Every Day," Salon.com, March 6, 2002, http:/ I www.salon.com/entertainment/movies/review/2002/03/06/trouble/index. html?CP=IMD&DN= 110. 76. Chris Raney, "Nausea Every Moment," Epirzions, May 6, 2002, http://www. epinions.com/review/mvie_mu-1112593/content_63185 129092 Accessed November 19, 2010. 77. Ibid. 194 Notes

78. Beugnet, 105. 79. Consider for instance HBO's vampire series True Blood (2008-), based on Charlaine Harris's Southern Vampire Mystery books; Stephanie Meyer's Twilight novels (2005-8) and their movie adaptations Twilight (2008), The Twilight Saga: New Moon (2009) and The Twilight Saga: Eclipse (2010); and Tomas Alfredson's critically and commercially successful Let the Right One In (2008). 80. Beugnet, 37. 81. James Hoberman, "An Actor's Revenge," The Village Voice, February 26,2002, http://www.villagevoice.com/2002-02-26/film/an-actor-s-revenge/1/ Accessed March 7, 2010. 82. Ed Gonzales, "Trouble Every Day," Slant Magazine, March 2, 2002, http://www. slantmagazine.com/film/review/trouble-every-day/361 Accessed October 5, 2009. 83. Beugnet, 37. 84. Among the many intertexts Denis references in Trouble Every Day are the work of directors such as F. W. Murnau (Nosferatu, 1922), jacques Tourneur and Georges Franju, as well as the tradition of Gothic Horror and German Expressionism. 85. Gonzales. 86. Beugnet, 40. 87. Beugnet, 42; Gonzales. 88. For an extended discussion of the monstrous in Trouble Every Day, consult Kate Taylor, "Infection, Postcolonialism and Somatechnics in Claire Denis's Trouble Every Day," Studies in French Cinema, 7: 1 (2007), 19-29. 89. Mark Ledbetter, Victims and the Postmodern Narrative or Doing Violence to the Body: An Ethic of Reading and Writing, New York: St. Martin's Press, 1996, 9. 90. Todd McGowan, The Real Gaze: Film Theory After Lacan, Albany: State University of New York Press, 2007, 99. McGowan seems to conceptualize fantasy and desire as opposed entities. 91. Marks, Touch, xiii; xvii. The author draws upon Deleuze and Guattari's work on "smooth space" to describe close-range spaces that are "navigated not through reference to the abstractions of maps or compasses, but by haptic perception, which attends to their particularity (xii). See also Gilles Deleuze and Felix Guattari, "1440: The Smooth and the Striated," A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi, Minneapolis:: University of Minnesota Press, 1987, 474-500. 92. Beugnet, 47. 93. I would like to point out that the notion of the negation of pleasure pursued in this book carries no erotic connotations and is semantically distinct from Karmen MacKendrick's idea of counterpleasure, which is linked to various pleasureable transgressions. See Karmen MacKendrick, Counterpleasures, Albany, NY: State University of New York Press, 1999. 94. Helene Cixous, "The Laugh of the Medusa," New French Feminisms, eds. Elaine Marks and Isabelle de Courtivron, New York: Schocken, 1981, 253; and Marie-Claire Ropars-Wuilleumier, "The Graphic in Filmic Writing: A bout de souffle, or the Erratic Alphabet," Enclitic, 5: 2 & 6: 1 (1982), 147-61. 95. I am aware of Caroline Bainbridge's somewhat similar term "feminine cine• matics," which she explicitly relates to the work of Luce Irigaray and which involves a different set of films. See Caroline Bainbridge, A Feminine Cinematics: Luce Irigaray, Women and Film, Basingstoke: Palgrave Macmillan, 2008. Notes 195

96. Lynda Nead, 6. 97. In Kant's philosophical aesthetics, sensuous pleasure is opposed to aesthetic pleasure. The art object is considered a detached entity to be contemplated and appraised in a disinterested mode of reception. 98. Beugnet, 9. 99. See for instance Lynn Hunt, ed., Eroticism and the Body Politic, Baltimore: Johns Hopkins University Press, 1991, 13. 100. Linda Williams, "Second Thoughts on Hard Core: American Obscenity Law and the Scapegoating of Deviance," More Dirty Looks: Gender, Pornography and Power, ed. Pamela Church Gibson, London: BFI, 2004, 165-75; 173. 101. Johnston, "Women's Cinema," 5. The discussion about the visual representa• bility of women can boast a rich tradition. For Kristeva, for instance, "woman" designates something that escapes representation, a view implicitly modified by Chris Straayer's point that "[w]hat isn't represented is assumed to be unrepresentable." Moira Gatens, however, asserts that the human body is always beyond representability because "the selection of a particular image of [it] will be a selection from a continuum of differences," an opinion not too different from Marjorie Garber's reservations concerning the possi• bility of representing fluid concepts like bisexuality. Recall also Mary Ann Doane's familiar comments that "[t]he simple act of directing a camera toward a woman has become equivalent to a terrorist act" and that there are no images of woman in the cinema. The problem of representing woman may also be linked to the question addressed by E. Ann Kaplan of the existence of a female voice in film. Alison Butler also discusses some of these issues in a book about "women's cinema," in which she proposes that the concept, which dates back to the late 1960s, could be regarded as a "minor" cinema in Deleuze and Guattari's sense of the word. A minor cinema would indicate the objects produced by a marginal (displaced or deterrito• rialized) collective, objects that cannot help but politicize everything. See Julia Kristeva, "Woman can never be defined," New French Feminisms: An Anthology, eds, Elaine Marks & Isabelle de Courtivron, Brighton: Harverster Press, 1981, 137; Straayer, 6; Moira Gatens, Imaginary Bodies: Ethics, Power and Corporeality, London: Routledge, 1996, vii; Marjorie Garber, "Vegetable Love," Quotation Marks, New York: Routledge, 2003, 103; Mary Ann Doane, "Women's Stake: Filming the Female Body," Feminism and Film, ed. E. Ann Kaplan, Oxford: Oxford University Press, 2000, 86-7; E. Ann Kaplan, "Is the Gaze Male?" Feminism and Film, ed. E. Ann Kaplan, Oxford: Oxford University Press, 2000, 122; and Alison Butler, 16. For a helpful and com• pressed overview of the history of feminist film theory, see Janet McCabe, Feminist Film Studies: Writing the Woman Into Cinema, London: Wallflower, 2004. Consult also D. N. Rodowick, The Difficulty ofDifference: Psychoanalysis, Sexual Difference and Film Theory, New York: Routledge, 1991. See also related conversations in the field of art history, for instance Griselda Pollock's argu• ment that the artwork should be approached as a practice rather than as an object. Art history itself, she writes, "may be grasped as

a series of representational practices which actively produce definitions of sexual difference and contribute to the present configuration of sexual politics and power relations. Art history is not just indifferent 196 Notes

to women; it is a masculinist discourse, party to the social construction of sexual difference. As an ideological discourse it is composed of procedures and techniques by which a specific representation of art is manufactured.

In another context Pollock also establishes an explicit analogy between modernism and Hollywood cinema with regard to gender representations: "[m]odernism is to art history and practice what the classic realism of Hollywood cinema is to film theory. We need a similarly comprehensive theorization of the sexual politics which it inscribes." See Griselda Pollock, Vision and Difference: Femininity, Feminism and Histories of Art, London: Routledge, 1992, 11; and Griselda Pollock, "Screening the Seventies: Sexuality and Representation in Feminist Practice-a Brechtian Perspective," The Feminism and Visual Culture Reader, ed. Amelia Jones, London: Routledge, 2003, 79. See also the following text by Linda Nochlin, in which she exam• ines "the discourses of gender difference." Linda Nochlin, "Women, Art and Power," Visual Theory: Painting and Interpretation, eds, Norman Bryson, Michael Ann Holly & Keith Maxey, Cambridge: Polity Press, 1991, 13. Pollock's and Nochlin's arguments are not from Susanne Kappeler's more militant call for the "active participation of women" in the cultural and artistic spheres in order to transform "the structures of represen• tation [and] the conventions of viewing." See Susanne Kappeler, Pornography of Representation, Cambridge, UK: Polity Press, 1986, 221. 103. Laura Mulvey, "Film, Feminism and the Avant-Garde," Framework 10 (1979), 3-10; 4. 104. Teresa de Lauretis, 146. 105. David E. James, Allegories of Cinema: American Film in the Sixties, Princeton, N.J.: Princeton University Press, 1989, 313. 106. See Kauffman, 13-14. 107. James, 333. 108. In his seminal essay on counter-cinema, Wollen famously presented con• ceptual differences between mainstream cinema and counter-cinema in a binary chart: pleasure versus non-pleasure, transparency versus foreground• ing of devices, fiction versus reality, identification versus estrangement; closure versus open-endedness etc. Wollen was concerned with the relation between form and ideology and claimed that the strategies of counter-cinema promoted critical awareness where mainstream film only generated illu• sions. For similar critics like Comolli and Narboni, the support of counter• cinema aesthetics implied a certain skepticism vis-a-vis formal beauty. See Peter Wollen, "Godard and Counter Cinema: Vent d'Est," Afterimage 4 (Fall 1972), 6-17, and Jean-Luc Comolli and Paul Narboni, "Cinema/Ideology/ Criticism," Screen 12: 1 (1971), 27-36.

S The Metapomographic Imagination

1. Susan Sontag, "The Pornographic Imagination," 35. 2. Ibid., 39. The dismissal of pornographic content on aesthetic grounds is of course frequently rehearsed. Porn lacks narrative, appeals only to the senses, disregards language, and strips human relations of all complexity. Notes 197

3. Ibid., 44. 4. Guy Debord, Society of the Spectacle [1967], Detroit: Black and Red, 1983. 5. Feona Attwood, ed., Mainstreaming Sex: The Sexualization of Western Culture, London: I. B. Tauris, 2009, xiv. The literature on the current pomosphere is too vast to summarize here. For a limited selection, see for instance Ariel Levy, Female Chauvinist Pigs: Women and the Rise ofRaunch Culture, New York: Free Press, 2005; Ann C. Hall & Mardiaj. Bishop, eds., Pop-Porn: Pornography in American Culture, Westport, Conn.: Praeger, 2007; and Carmine Sarracino & Kevin M. Scott, The Porning of America: The Rise of Porn Culture, What It Means, and Where We Go From Here, Boston: Beacon Press, 2008. For a more specialized study of pornography in the aesthetic sphere, see Victoria Best & Martin Crowley, The New Pornographies: Explicit Sex in Recent French Fiction and Film, Manchester: Manchester University Press, 2008. 6. A related concept is Barbara Creed's term post-porn, which denotes films that "take pornography out of its traditional context and rework its stock images and scenarios." See Barbara Creed, Media Matrix: Sexing the New Reality, Crow's Nest, Australia: Allen and Unwin, 2003, 74. 7. jean Baudrillard, Seduction [1979], trans. Brian Singer, Montreal: New World Perspectives, 1990, 37. 8. McNair, Striptease Culture, 61. 9. In one way the metapornographic contains an element of what judith Butler has termed "insurrectionary speech," a mode of resistance to acts of interpel• lation that unmasks normativity and derails performative rituals. Discourse may become "insurrectionary" whenever "natural" speech is quoted out of context, for instance in the form of pastiche and parody. The incorporation of hard• core segments in art films could be considered an instance of such discursive reappropriation of a generically and culturally naturalized visual discourse. Previously Terri Schauer has already made the case that the so-called porn-for• women genre exemplifies such "insurrectionary speech." See Butler, Excitable Speech, and Terrie Schauer, "Women's Porno: The Heterosexual Female Gaze in Porn Sites 'For Women,"' Sexuality and Culture 9.2 (2005), 60. 10. Linda Williams, "Porn Studies," 10. See also Wicke, "Through a Gaze Darkly: Pornography's Academic Market," More Dirty Looks: Gender, Pornography and Power, ed. Gibson, Pamela Church, London: BFI, 2004, 176. Williams herself decided to start teaching porn studies after she read an article by Catherine MacKinnon in which the author argued that the rape of women in Bosnia should be attributed to the influence of pornog• raphy. A few years after the publication of Hard Core, in the Spring of 1994, and following the success of Constance Penley's classes at the University of California, Santa Barbara, Williams taught her first porn class at the UC Irvine, "The History of American Moving-image pornography." She screened 1-2 films per week, accompanied by readings of texts such as Hard Core, Pamela Church Gibson and Roma Gibson's Dirty Looks, and Foucault's The History of Sexuality. 11. Researching pornography is however still fraught with hazard. In the UK, for instance, the 2007 Criminaljustice and Immigration Act makes the possession of extreme pornography a criminal offense. But in order to understand this phenomenon, as Steve jones and Sharif Mowlabocus have pointed out, one must create "a rigorous framework within which such material can be viewed 198 Notes

by researchers without fear of prosecution or institutional disciplinary action." Steve Jones & Sharif Mowlabocus, "Hard Times and Rough Rides: The Legal and Ethical Impossibilities of Researching 'Shock' Pornographies," Sexualities 12: 5 (2009), 620. 12. James Elkins, Pictures of the Body, 93. Elkins also points out that pornogra• phy, just like other visual objects, may be approached for the meanings it conveys. See 195-8. 13. Constance Penley, "Crackers and Whackers: The White Trashing of Porn,'' Porn Studies, ed. Linda Williams, Durham: Duke University Press, 2004, 319. 14. See Ralph Blumenthal, "Porno Chic," New York Times, January 21, 1973, 272. 15. The subject has attracted a substantial amount of academic attention through the last two decades. See Linda Williams's epochal Hard Core: Power, Pleasure and the "Frenzy of the Visible,'' Berkeley: University of California Press, 1989; Jennifer Wicke, "Through a Gaze Darkly," 62-80; Laura Kipnis, Bound and Gagged: Pornography and the Politics of Fantasy in America, New York: Grove Press, 1996; Brian McNair, Mediated Sex: Pornography and Postmodern Culture, London: Arnold, 1996; Constance Penley, "Crackers and Whackers," 89-112; Laurence O'Toole, Pornocopia: Porn, Sex, Technology and Desire, London: Serpent's Tail, 1998; Rebecca Huntley, "Slippery When Wet: The Shifting Boundaries of the Pornographic (a Class Analysis)," Continuum: Journal of Media and Cultural Studies 12.1 (1998), 69-81; and Linda Williams, ed., Porn Studies, Durham: Duke University Press, 2004. 16. HBO's Hung (2009-), a show about male prostitution in the aftermath of the recession, may be considered part of the same trend. 17. Brian McNair, "From Porn Chic to Porn Fear," 63. 18. The connection between the cluster of explicit arthouse films and a more literally metapornographic film like The Wayward Cloud has been noted by some critics. See for instance Ian Johnston, "How Sweet to Be a Cloud?" Bright Lights Film Journal 50 (2005), accessed August 19, 2010, http://www. brightlightsfilm.com/50/wayward.htm. 19. For a discussion of the encoding of pornographic tropes in the medium of fic• tion, see Victoria Best and Martin Crowley's The New Pornographies. This work also explores the notion of the negation of pleasure in relation to the works considered. 20. Yet another subset of the genre of metapomographic cinema might be the eclec• tic cache of films concerned in various ways with the world of prostitution, such as Bad Guy (Ki-duk Kim, 2001), Battle in Heaven (Carlos Reygadas, 2005), Aka Ana (Antoine d'Agata, 2008), and Enter the Void (Gaspar Noe, 2009). 21. McNair, Striptease, 63. 22. Mary Caputi, Voluptuous Yearnings: A Feminist Theory of the Obscene, Lanham: Rowman & Littlefield, 1994. 23. Lisa Downing, "Pornography and the Ethics of Censorship,'' Film and Ethics: Foreclosed Encounters, Lisa Downing and Libby Saxton, London: Routledge, 2010, 77. 24. Bette Gordon & Karyn Kay, "Look Back/Talk Back,'' Dirty Looks: Women, Pornography, Power, eds. Pamela Church Bibson & Roma Gibson, London: BFI, 1993, 92. 25. The term "pornography" was apparently coined by Restif de la Bretonne in his Le Pornographe (1769), a treatise about the management of prostitution. Notes 199

26. Lynn Hunt, ed., Eroticism and the Body Politic, Baltimore: Johns Hopkins University Press, 1991, 3. 27. See Linda Williams, "Corporealized Observers," 3-41; 4. 28. McNair, Striptease, 38. 29. Lynda Nead, "Bodies of Judgment," 212. See also Walter Kendrick, The Secret Museum: Pornography in Modern Culture, 1987, Berkeley: University of California Press, 1997. 30. Nead, Female Nude, 100. 31. According to Lynda Nead, the trial over this novel was not so much about its content as about "the constituency of its audience." See Nead, 91. 32. Kenneth Clark, The Nude: A Study in Ideal Form, New York: Pantheon, 1956. 33. John Jervis, Transgressing the Modern, 165. 34. McNair, Striptease, 169. 35. Alyce Mahon, Eroticism and Art, Oxford: Oxford University Press, 2005, 11. 36. The films of Kumashiro were of a kind of porno films, labeled roman poruno, that required a sex scene every ten minutes. This was mostly the only thing that set them apart from the work of someone like Oshima. 37. P. Adams Sitney, Eyes Upside Down, 291. 38. McNair, Striptease, ix. 39. Ibid., 11-12. 40. Ibid., 62. 41. Laura Kipnis, Bound and Gagged, viii. 42. Ibid., xii. 43. Ibid., 165. 44. Ibid., 166. 45. Sergio Messina, "Realcore: The Digital Porno Revolution," http://www. sergiomessina.com/realcore/. Accessed August 31, 2010. See also Jonathan Coopersmith, "Pornography, Videotape, and the Internet," IEEE Technology and Society Magazine 19 (2000), 27-34; Jonathan James McCreadie Lillie, "Cyberporn, Sexuality, and the Net Apparatus," Convergence: The International Journal of Research into New Media Technologies 10 (2004): 43-65; and Katrien Jacobs, Netporn: DIY Web Culture and Sexual Politics, Lanham, MD: Rowman and Littlefield, 2007. 46. One notable exception may be the Australian website BeautifulAgony.com, which provides porn without nudity and is devoted entirely to images of the human face captured during the ecstasy of orgasm. For an in-depth discus• sion of this site, see Anna E. Ward, "Pantomimes of Ecstasy: BeautifulAgony. com and the Representation of Pleasure," Camera Obscura 73, 25.1 (2010): 161-95. 47. For more on this dichotomy, see for instance jon Huer, Art, Beauty, and Pornography: A Journey through American Culture, Buffalo, New York: Prometheus, 1987, 13. 48. Kuhn, The Power of the Image, 219; Stern, "The Body as Evidence," 198; and Rosalind Coward, "Sexual Violence and Sexuality," Feminist Review 11 (1982), 11. For a critique of the view that porn constitutes a representational regime, see Stephen Prince, "The Pornographic Image and the Practice of Film Theory," Cinema Journal, 27.2 (1988), 27-39. 49. Vogel, 219. 50. McNair, Striptease, 205. 200 Notes

51. Kipnis, 123. On a more moderate note, she also suggests that Larry Flynt's obscenity trial did more to promote the First Amendment for artists in America than any trials in which more highbrow texts were prosecuted. 52. See Jacinda Read, The New Avengers: Feminism, Femininity and the Rape-Revenge Cycle, Manchester: Manchester University Press, 2000. 53. Martine Beugnet, Cinema and Sensation, 53. 54. See Nicholas Rombes, ed., New Punk Cinema, Edinburgh: Edinburgh University Press, 2005. For Rombes, this trend, typically combining underground and mainstream aesthetics, is indebted to the values of punk rock. Prominent titles include The Idiots, Fight Club (, 1999), and Requiem for a Dream (, 2000). 55. Keith Uhlich, "The Wayward Cloud," Slant Magazine, February 21, 2007, http:/ I www.slantmagazine.com/film/review/the-wayward-cloud/2709. Accessed August 20, 2010. 56. Nicolas Rapold, "A Lot of Flavor, but Very Little Taste," The New York Sun February, 23, 2007, http:/ /www.nysun.com/arts/lot-of-flavor-but-very-little• taste/49177 /. Accessed August 23, 2010. 57. Nathan Lee, "Watermelon-Eating Contest!" The Village Voice, February 3, 2007, http:/ /www.villagevoice.com/2007 -02-13/film/watermelon -eating-contest/. Accessed August 19, 2010. 58. See Pitirim Sorokin, Social and Cultural Dynamics: A Study in Major Systems of Art, Truth, Ethics, Law and Social Relationships [1937-41], Boston: Extending Horizons Books, 1957. 59. jon Huer, Art, Beauty, and Pornography, 172. 60. For further reading, see Aleks Sierz, In-Yer-Face-Theatre: British Drama Today, London: Faber and Faber, 2001. 61. Ed Gonzales, "A Hole in My Heart," Slant Magazine, April 9, 2005, http://www. slantmagazine.com/film/review/a-hole-in-my-heart/1448. Accessed August 14, 2010. 62. james Mudge, "A Hole in My Heart," Beyond Hollywood, June 10, 2005, http:// www. beyondholl ywood .com/a- hole-in-my-heart-2005-movie-review I. Accessed August 12, 2010. 63. J. Hoberman, "A Squalid Swedish Porno Drama Punishes Its Audience," The Village Voice, March 29, 2005, http://www.villagevoice.com/2005-03- 29/film/a-squalid-swedish-porno-drama-punishes-its-audience/. Accessed August 9, 2010. 64. Destricted is not the only film of its kind. In 2009, a group of Swedish feminists produced Dirty Diaries, a collection of thirteen pornographic shorts, many of which addressed queer sexuality. Emerging from producer Mia Engberg's own short film Come Together, which featured the director and several others filming themselves on their mobile phones while masturbating, Dirty Diaries was financed in part by public funds and caused a great deal of controversy in Sweden. The project was also accompanied by a ten-point manifesto published on the film's website, http://www.dirtydiaries.se/ Accessed November 30, 2010. 65. Themroc, "Destricted," EyeForFilm, http://eyeforfilm.co.uk/reviews.php?film_ id=11671. Accessed August 17, 2010. 66. See Stephen Applebaum, "Sex Education," , August 21, 2006, http://www.guardian.co.uk/film/2006/aug/21/features. Accessed September 1, 2010. Notes 201

67. Alex Jackson, "Destricted," iViews, 3.7 (2006), http://www.filmfreakcentral. net/iviews/iviews7.htm#destricted. Accessed September 2, 2010. 68. Scott Foundas, "Destricted," Variety, May 10, 2006, http://www.variety.com/ review/VE1117930476.html?categoryid=31&cs=1&p=O. Accessed August 10, 2010. 69. Hoberman, "Squalid Swedish Porno." 70. Ryan Gilbey, Review of A Hole in My Heart, Sight and Sound, February 2005. 71. Vogel, Film as a Subversive Art, 197. 72. Keith Maxey, "Visual Studies and the Iconic Tum," Journal of Visual Culture 7.2 (2008): 132. 6 "Be Here to See This": Haneke's Intrusive Images

1. Sharrett, "World that is known." 2. Sergei Eisenstein, "The Problem of the Materialist Approach to Form," The Eisenstein Reader, ed. Richard Taylor, London: BFI, 1998; Theodor W. Adorno and Max Horkheimer, Dialectic of Enlightenment [1944], New York: Continuum, 1972; and Debord, La societe du spectacle. 3. Sharrett, par. 18. 4. Peucker, 31. 5. Mitchell, What Do Pictures Want? 6. T. J. Clark, The Sight of Death: An Experiment in Art Writing, New Haven: Yale University Press, 2006, 43. 7. Steven Shaviro, The Cinematic Body, Minneapolis: University of Minnesota Press, 1993, 24. 8. The October executions took place within the context of the Algerian War of Independence (1954-62), and the decision to set up a curfew was the result of repeated strikes against the Parisian police by the National Liberation Front in the months preceding the massacre. 9. Ipek A. Celik, '"I Wanted You to Be Present:' Guilt and the History of Violence in Michael Haneke's Cache," Cinema Journal, 50.1 (2010), 61. 10. The 1961 massacre became a subject of documentary films only in the 1980s (a 1962 film, Maurice Panijel's Octobre a Paris was censored at the time). Denis Levy's Memoires en blanc appeared in 1981, Okacha Touita's Les sacrifies in 1982, Agnes Denis and Mehdi Lallaoui's Le silence de fleuve and Philip Brooks and Alan Hayling's Drowning by Bullets in 1992, Bourlem Gourdjou's Vivre au paradis in 1999, Ali Akika's Les enfants d'Octobre in 2000, Daniel Kupferstein's 17 Octobre 1961: Dissimulation de massacre, Virginie Delahautemaison's 17 Octobre 1961: Retour de memoire in and Aude Touly's Laguerre sans nom dans Paris in 2001, and finally Alain Tasma's made-for• television movie Nuit noire, 17 octobre 1961 and Philippe Faucon's film about the Algerian War La 1Tahison in 2005. 11. Skepticism regarding the referential authenticity of the image is not some• thing that arose only in the era of digital photography. In no small part informed by the crisis of Cartesian perspectivalism that the invention of the camera merely reinforced, modernism in the visual arts frequently gravitated toward an interrogation of the epistemological trustworthiness of the image. This is also an obsession which fuels Blow-Up (1966), directed by Antonioni, one of Haneke's most beloved auteurs. 202 Notes

12. Oliver C. Speck, Funny Frames: The Filmic Concepts ofMichael Haneke, New York: Continuum, 2010, 4. 13. See for instance Speck, 7. 14. W. J. T. Mitchell, "Showing Seeing: A Critique of Visual Culture," Journal of Visual Culture 1.2 (2002), 165-81. 15. My argument here departs somewhat from Mitchell's use of the term, which could be construed as intimately related to his notion of metapictorialism, a capacity that he seems to imply that all images might possess in principle. 16. Linda Williams, "Porn Studies," 3. 17. In her article on the film, Celik makes a note of the rather eerie timing of its emergence: "Cache was released immediately before the same laws that led to the massacre were applied again (after four decades) on the same underclass minority population of Parisian suburbs," 65. 18. Nick James, "The Films of 2006," Sight and Sound 17: 1 (2007), 32. 19. Clyde R. Taylor, The Mask of Art, 290. 20. Sharrett, "World that is Known." 21. Fredric Jameson, Postmodemism, or, the Cultural Logic of Late Capitalism, London: Verso, 1991, 16. 22. Christopher Sharrett, Review of Cache, Cineaste 31: 1 (2005), 61. 23. Sharrett, "World that is Known." 24. Angelopoulos is a filmmaker who also shares Haneke's interest in issues of immigration, globalization, and the sociology of a changing Europe. 25. Robinson Jeffers, The Double Axe and Other Poems [1948], foreword William Everson, afterword Bill Hotchkiss, New York: Liveright, 1977, xxi. 26. For a longer discussion of the permutations of empathy in Cache, see Brian Gibson, "Bearing Witness: The Dardenne Brothers' and Michael Haneke's Implication of the Viewer," Cineaction 70 (2006). 27. As Gibson has shown, the word "terror," or inflections thereof, occurs with astounding regularity in the vocabulary of the Laurents. According to his interpretation, the film suggests that the protection of "white bourgeois privilege" is what really fuels the war on terror. See Gibson, 36. 28. An idea first developed in Gilles Deleuze's two mid-80s film books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985}, the notion of filmic thought has subsequently been explored in an ever growing selection of scholarly works. It most generally involves the presupposition that films are capable of doing philosophy and should be seen as a kind of manifestation of thought in action, graspable but ultimately unparaphraseable by language. See for instance Eric Alliez, "Midday, Midnight: The Emergence of Cine• thinking," trans. Patricia Dailey, The Brain is the Screen: Deleuze and the Philosophy of Cinema, ed. Gregory Flaxman, Minneapolis: University of Minnesota Press, 2000, 293-303; Stephen Mulhall, On Film, London: Routledge, 2002; and Daniel Frampton, Filmosophy, London: Wallflower Press, 2006. See also Deleuze Cinema 1 and Cinema 2. 29. Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste 31:1 (2005): 50. For an analysis of the ways in which Haneke's oeuvre relates to "the distractions of visual culture," see Kevin Wynter, "Excesses of Millennia! Capitalism, Excesses of Violence: Several Critical Fragments Regarding the Cinema of Michael Haneke," Cineaction 70 (2006). Notes 203

30. Sharrett, "World that is Known." 31. For a further discussion of the modernist leanings in Haneke, see Brigitte Peucker, 131. Peucker sees in Haneke's a-psychological style a consolidation of the modernist tradition, which, she claims, the director draws upon to parody and subvert the theatricality of the bourgeois melodrama that almost always constitutes the subject matter for his films. According to Peucker, Haneke's cinema is indebted to modernist precursors such as James joyce, Jean-Marie Straub and Danii'~le Huillet, Alban Berg, Franz Kafka, Arnold Schonberg and Adolf Loos.

Postscript

1. Beugnet, 178. 2. Theodor W. Adorno, Minima Moralia: Reflections From Damaged Li(c, trans. E.F.N. jephcott, London: NLB, 1974, 25. 3. For a brief discussion of the commercial exploitation of shocking art, Striptease Culture, McNair, 10. 4. Hartwick, "On The Aesthetic Dimension," 423. 5. See Cashell, 12. Index

Page numbers followed by n indicate notes.

B'h72 144141 Anatomie de l'enfer 2, 10 Anatomie de l'enfer/Anatomy of A Hell 85, 88-95, 191n14 Aaron, Michele 25, 45-6 Breillat, Catherine 85, 88 Abbey, Edward 72 haptic criticism 94 abject of desire 92, 94 Anatomy of Hell 57, 63, 65, 75, 144 Abramovic, Marina 140, 141 Andersson, Roy 30 The Accused 132 Animal Love 26 Adaptation 144 Annie Hall 134 Adorno, Theodor W. 20 anorexic image 152 The Aesthetic Dimension 21-2, 23 Antichrist 5, 43, 44, 47-52, 55, 58, aesthetic drowsiness 20 75-6, 131, 144, 149 aesthetic predilection 58 Antonioni, Michelangelo 66 aesthetics 36-7 Araki, Nobuyoshi 133 Cache and 159 Arbus, Diane 30 In the Cut 102-3, 193n55 Aria 124 danger 86 Armide 124 disgust and 23-4 art, ethics and 36 emergence in eighteenth art cinema century 59-60 body genre 57-83 ethics and 4, 36-7 of early twenty-first century 59 film, history of 5, 177n6 historical perspectives 57-8 of filmmakers 30 landscapes 75-8 Galt on 86-7 metapornographic sensibility 123-4 Marcuse on 21-2 see also metapornographic and modernism 60-1 imagination and pornography 60-1 new landscape film 75 subversiveness of 22 of 1950s and 1960s 64, 67 Trouble Every Day 115-16 tropology of intertia 57-83 of unwatchable moments 21-2 Arvanitis, Yorgos 91 women 86 Attwood, Feona Aesthetic Theory 20 on pornography 121-2, 197n5 A Hole in my Heart 65, 125, 128, 129, Auteuil, Daniel 152, 153 130, 131, 136-7, 143, 144-8, 149 authenticity 81, 82 criticism 138-9 "authentic sexuality," representations A ma soeur! 2 of 81 A ma soeur!/ 90 Auto Focus 124 America 71 American Presidential Commission on B Obscenity and Pornography 127 Bad Girl 124 The Anwrists 128 Badlands 79 204 Index 205

Bainbridge, Caroline 18, 26 The Brown Bunny 5, 62, 65, 67 Baise-Moi 2, 9, 17, 63, 68, 88, 131-3 criticism 70--1, 73, 75 Balkan Erotic Epic 140, 143 Brunette, Peter 107, 193n62 bare corporeality 112-13 Bully 140 Barney, Matthew 139, 141, 143 Bufiuel, Luis 128 Barthes, Roland 4 Burden, Chris 21 Basic Instinct 124 Butler, Alison 103, 193n56 Bataille, Georges 37, 59, 82, 121, 128 Butler, judith 63, 187n16 Battle in Heaven 9 Baudrillard, jean 71 c Baumgarten, Alexander 59 Cache 9, 75, 76, 110, 149 Bazin, Andre 4, 78, 81 aesthetics and 159 Beardsley, Aubrey 60 cine-thinking 161, 202n28 BeautifulAgony.com 199n46 empathy and 161, 202n26 Before Sunrise 69 images 151-62 Benny's Video 110, 150, 154 opening shot 154-5 Berkeley, Busby 134 optical ambivalence 162 Bernheim, Emmanuelle 69 politically transgressive film 158--9 Bertolucci, Bernardo 58, 128 title, meaning of 156-7 Beugnet, Martine 8, 35, 69, 70, 108, Califomication 124 132,200n53 Cameron, Allan 54 Bickerton, Emilie 93 Campion, Jane 85, 95 Big Brother 18 In the Cut 85, 87, 95-103 Binoche, juliette 152 Caputi, Mary 125--6, 198n22 The Blair Witch Project 49 Carnal Knowledge 58 Blue Movie 58 Carter, Angela 58, 65, 186n3 Board of Film Classification 179n 14 Casar, Amira 10 body Cavell, Stanley 41 exposure of 34-5 Caws, Mary Ann 46 genre 57--83 Celik, Ipek 153 Bonnie and Clyde 61 censorship Boogie Nights 124 acts of (twentieth century) 186n4 Boorman, john 73 Breillat, Catherine and 89, 94 Booth, Wayne 3 issues of 58 BrAding, Was Sanna 148 transgressive cinema and 40 Brambilla, Marco 140 The Century Project 30, 31 Braun, Lasse 124 Charney, Leo 66 16 Chen Shiang-chyi 134 Breillat, Catherine 10, 44, 57, 62, Chereau, Patrice 67, 68, 125, 144 64,65, 75,85, 88,124,130 Child, Abigail 128 Anatomie de l'enfer 88-95 Chonin, Neva 71 censorship and 89, 94 Christensen, Ove 18, 24 Brenez, Nicole 34 cinecriture 117, 194n95 Bresson, R. 66 cinema Bretonne, Restif de Ia 198n25 of contractions 24 Breve traversee/ Brief Crossing 90 entropic 43-56 Brodsky, joseph 4 spasmodic 24 Brooks, Richard 100 transgressive see transgressive cinema Brottman, Mikita 54 unwatchable 24 206 Index

Cinema and Sensation 108 de Lauretis, Teresa 102 cinematic pleasure 88, 101, 150, 158 Deleuze, Gilles 46, 66 cine-thinking Deliverance 73, 79 Cache 161, 202n28 Demon/over 125 Cixous, Helene 117 Denis, Claire 64, 65, 69-70, 85, 111 Clark, Kenneth 127 Trouble Every Day 85, 87, Clark, Larry 140-1, 144 111-20 Clark, T.J. 153 de Sade, Marquis 64, 128 classical dogma, of art 36 Desert Solitaire 72 A Clockwork Orange 1, 4 7 desire 85-6 Clover, Carol 64 Anatomie de l'enfer 92, 95 coactare 156 In the Cut 101, 102 coacticare 15 6 failure of 92 coactus 156 female 85-6, 101, 102, 118 Code Unknown 110, 150, 154, 162 La Pianiste 109, 110 Cohen, Paula Marantz 78 Ma Mere 105-6 Cole, Thomas 78 Trouble Every Day 111, 112, 116, Colorscapes 133 117, 118 commodification Despentes, Virginie 124, 131, 132 aesthetic object and 20 Destricted 125, 128, 130, 139, 142-3, process of 18-19 144,200n64 unwatchable moments and 23 Die Klavierspielerin 106 consciousness Dirty Pictures 124 sexuality and 94, 192n36 disgust constitutive censorship 179n14 aesthetics and 23-4 Coralie Trinh Thi 124, 131, 132 Hanich on 23-4 Cordelle, Frank 30-1, 143 Doane, Mary Ann 99 corpo-reality 103 Doeuff, Michele Le 86 "corporealized observer," Dogme films 24-5 emergence of 60 Don't Look Now 49 corporeal narratology 34 The Door in the Floor 49 Crary, Jonathan 60 The Double Axe and Other Poems 160 Crash 63, 124 Downing, Lisa 126, 198n23 Creed, Barbara 197n6 drift, philosophy of 66-7 Cronenberg, David 63 Dumont, Bruno 64, 65, 66, 71-3, 74, 76, 78, 79, 80, 81, 144 D Dunne, ].W. 54 Dahan, Olivier 104 Durgnat, Raymond 65 Damiano, Gerard 123 16 E Dante is not only Severe 20 Easy Rider 70 Davies, Terence 30 Ebert, Roger 43, 70, 188n43 Day For Night 144 ecriture feminine 117 Death Valley 5, 141-2, 143, 144 Edison, T. 58 De Bernardi, Tonino 104 Eliot, T.S. 60, 61, 187n12 Debord, Guy 121, 197n4 Elkins, fames 110 Deep Throat 58, 59, 123 emasculation, act of 73, 78, 79 de Laclos 127-8 Emerson, Ralph Waldo 48 De Lama Lamina 139 Emin, Tracy 68 Index 207 empathy Fosse, Bob 134 Cache and 161, 202n26 Foucault, Michel 59, 128 the empty moment 66-7 Fraser, Andrea 124 entropic cinema 43-56 French Blue 124 entropion, defined 55 Frey, Mattias 15, 27, 58 Erotic Art: A Survey of Erotic Fact and Fuchs, Cynthia 71 Fancy in the Fine Arts 59 Funny Games 110, 150, 154, 156 eroticism 128 and pornography 82 G Sontag on 121 Gallo, Vincent 70, 71, 73, 75, 79, 144 erotic thriller 96, 98, 101, 192n40 Galt, Rosalind 20, 86 ethics aesthetics and 86-7 art and 36-7 Gardner, Helen 127 artistic artifacts and 4 Gerry 70 of reading 61 gesture 93 see also aesthetics Gilmore Girls 99 euphemism 59 The Girlfriend Experience 125 Europa 49 The Girl Next Door 124 The Exorcist 49 Godard, Agnes 69 An Experiment with Time 54 Godard, jean-Luc 69, 124, 144 Extreme Cinema Collection 18 Gordon, Betty 124 Eyes Wide Shut 95 The Graduate 65 21 Grams 49 F Greenaway, Peter 66 Falcon, Richard 67-8 Griffith, D. W. 78 A Family on their Lawn one Sunday in Griggers, Camilla 88 Westchester, N.Y. 30 grotesque body 35 fellatio scene In the Cut 99-100 H Fellini, Federico 144 Haneke, Michael 43, 65, 66, 75, 76, Fellini-Satyricon 65 85, 130 female desire 85-6, 101, 102, 118 Cache, intrusive images 150-62 see also women La Pianiste 85, 87, 104, 106-11 female sexuality 129 Hanich, Julian 23 see also striptease culture haptic criticism feminine cineoptics 117 Anatomie de l'enfer 94 femininity 88 Trouble Every Day 117 "feminist deaesthetic" 102 haptic visuality 96 feminist film theory 86, 102, Haring, Keith 124 193n53 Harries, Martin 51 Ferreri, Marco 16 Haynes, Todd 145 Fight Club 2 Hellman, Monte 70 Film as a Subversive Art 38, 39 Henry and June 124 film history, aesthetic pleasure Here and Elsewhere (lei et ailleurs) 158 and 5, 177n6 Herzog, Werner 48 filmmakers, aesthetics of 30 Hicklin rule 127 Flesh of My Flesh 35 Hitchcock, Alfred 58, 177n6 Following Desire 128 Hoberman, J. 89, 138 Forster, E. M. 127 Twentynine Palms review of 73, 74 208 Index

Hoist 139-40, 143 Irreversible 2, 5, 9, 17, 27, 43, 44, The Hole 134 47, 52-5, 88, 132, 138, 142, 144, Hole in My Heart 18, 26, 32 145 Holy Smoke 99 Is This What You Were Born For? 128 Honore, Christophe 86 Ma Mere 86, 87, 104-6 1 Hopper, Dennis 70 James, David 119, 196n105 horror 15 Jameson, Fredric 158, 202n21 cinematic, defined 178n3 Jansen, Sue Curry 179n14 Hostel 15 Jay, Martin 46 Houellebecqs, Michel 68 Jeffers, Robinson 160, 202n25 House Call 140, 143 inhumanist 160 Huer, ]on 136 Jerslev, Anne 25 Human Sexual Response 58--9 Jervis, John 106, 127, 193n61 Hundstage 25, 26--36, 40, 64 Johnson, Virginia 58 Huppert, Isabella 5 Johnston, Claire 86, 88, 96, 119, Huppert, Isabelle 104 190n4, 192n43, 19Sn101 Hutcheson, Francis 59 Jonze, Spike 144 Jorda,Joachin 20 K Joselit, David 21 lei et ailleurs (Here and Elsewhere) 158 Joyce,]ames 60 The Idiots 2, 9, 16--18, 24-5, 26, Judiciary Censorship in the Western 28--9,57,68,144, 179n4, 179n6 World 124 images Julius, Anthony 5, 9 illicit 1 on transgressive art 37, 38, 40, unacceptable 3-4 182n83 of women 85, 86, 89, 96 The Imaginary Signifier 4 7 K Imamura, Shohei 128 Kammen, Michael 40 The Immoral Mr. Teas 58 Kane, Sarah 64, 138 Impaled 140--1, 143-4 Kant, Immanuel 59 Import/Export 9, 29, 125 Kate & Leopold 103 "improper places" 87 Kaufmann, Linda 38 inhumanist 160 Ken Park 140 "insurrectionary speech" 197n9 Kidman, Nicole 98 In the Bedroom 49 Kids 140 In the Cut 70, 85, 87, 95-103 The Kingdom 49 aesthetics 102--3, 193n55 Kinsey, Alfred 58 Campion, Jane 85, 95 Kipnis, Laura dream sequence in 98 on pornography 129-30, 131, fellatio scene 99-100 200n51 female desire 101, 102 Kjcerulff-Schmidt, Palle 16 In the Realm of Pleasure 51 Kone, Christophe 110, 193n70 In the Realm of the Senses 5, 51, 62, Koons, Jeff 124 82, 112, 123, 140 Kracauer, Siegfried 52 Intimacy 5, 62, 65, 67, 68, 70 Kristeva, Julia 94, 128 intrusive images Kronhausen, Eberhard 59 Haneke, Michael 150-62 Kubrick, Stanley 30, 95 inwatchable film 85, 88, 89, 97 Kuhn, Annette 90, 130, 199n48 Index 209

Kumashiro, Tatsui 128, 199n36 Mapplethorpe, Robert 124 Kureishi, Hanif 67 Marcuse, Herbert 18, 21-2, 82 Marks, Laura 94, 192n31 L Martin, Adrian 94 Lady Chatterley's Lover 60, 127 masochism 65 La Grande bouffe 16 Masters, William 58 landscapes 75-9 "maximum visibility" as an aesthetic genre 78 pornography 102, 193n52 Mitchell on 79 McCarthy, Paul 21 as source of cultural identity McDonagh, Martin 138 and authenticity 78 McEvilley, Tomas 21 La Passion de Jeanne d'Arc 49 McNair, Brian 63, 122, 125, 126, 128 La Pianiste 2, 5, 9, 57, 65, 85, 87, porno-chic, concept of 122 104, 106-11, 144, 150 on striptease culture 128-9, 131 transgressive incident in 107-9 Meat Joy 21 The Last Seduction 132 Miracle 104 Last Tango in Paris 5, 62, 65, 67, 89, Meinig, Donald W. 78 123, 140 melodrama 64 Lauren, Dillan 141 Memento 54 La Vie de jesus 73 menstrual blood 93-4 La Vie Promise 104 Messina, Sergio 130, 199n45 L'avventura (1960) 67 metapornographic imagination 65, Lawrence, D.H. 60, 127 83, 121-49 Leavis, F.R. 60, 187n12 arthouse films 124-5 Lee, Nathan 134-5, 200n57 Baise-Moi 131-3 Lee Kang-sheng 134 component of 123 Leigh, Jennifer 97 concept of 123 Le Mepris 144 Destricted 125, 128, 130, 139, Le Pornographe 198n25 142-3, 144,200n64 Les amant~ criminals 17 in early 1970s 123-4 L'Humanite 73 historical perspectives 123-4 Lilja 4-ever 26 A Hole in my Heart 128, 129, 130, Lilya 4-Ever 137-8 131, 136-9, 143, 144-8, 149 Lim, Dennis 73 in late eighteenth century 127-8 Linklater, Richard 69 object of 126 Little Fockers 40 porno-chic, concept of 122, 130 Lonesome Cowboys 58 pornosphere and 122, 124, 125 Looking For Mr. Goodbar 100 regulatory considerations Lost Highway 95, 154 and 126-7 Love in a Blue Time 6 7 in 1990s and 2000s 124-5 Ludovico technique 47 screening of 130-1 Lynch, David 144, 154 sexualization and 122 sexual transgression 127-8 M The Wayward Cloud 125, 130, MacDougall, David 2 131, 133-6, 143, 144, 149 Macnab, Geoffrey 93 see also striptease culture Mahon, Alyce 128 Metz, Christian 177n6 Mainstreaming Sex 131 Meyer, Russ 58 Ma Mere 5, 86, 87, 104-6, 144 Midnight Cowboy 65 210 Index

"minor cinema" 103 obscenity 58-9, 93 Mitchell, John Cameron 125 regulation of 126-7 Mitchell, W.]. T. 36, 44, 79, 152 obtrusive nearness 23 Bmm 124 "offenses of commission Moby Dick 4 [violence]" 58 Models 26 see also violence modern dogma, of art 36 "offenses of omission [boring modernism films]" 58 and aesthetics 60-1 Of Gods and Men 23 and pornography 60-1 The Omen 49 as relation between art on/scenity 122, 123, 130 and erotic 128 on-screen sexuality The Moguls 124 as controversial 63 Moodysson, Lukas 18, 26, 64, 136, optical ambivalence 137, 138, 144-6, 148 Cache 162 The Moon is Blue 58 optical visuality 96 morality, art and 36 Oshima, Nagisa 58, 128 Morris, Meaghan 103, 193n57 Moxey, Keith 149 I' Mulholland Drive 95, 144 Paglia, Camille Paglia 93 Mulvey, Laura 86, 88, 89, 120, Pan's Labyrinth 49 190n4, 196n103 Papon, Maurice 153, 201n8 Murdoch, Iris 36 Paris 79 My Bed 68 Paris massacre of 1961 153, 201n8, Myra Breckinridge 58 201n10 Pasolini, Pier Paolo 65, 128 N Paul de Man 7 Nancy, Jean-Lt!C 78 Pease, Allison 61 Naqvi, Fatima 110, 193n70 Peckinpah, Sam 156 naturphilosophie 78 Peeping Tom 47 Nead, Lynda 99, 118, 126, 127, The People vs. Larry Flynt 124 192n48, 199n29, 199n3l Peppermint Candy 54 neologism on/scenity Peranson, Mark 27 Linda's 122 Peucker, Brigitte 46, 152 New American Cinema era of 62 The Philosophical Imaginary 86 new landscape film 75 photography, history of 126-7 new punk cinema 132 The Piano 99, 100 The New York Sun 71, 134 The Piano Teacher 5 "Night Light" 67 Plat{omz 68 The Night Porter 5 Poems and Ballads 60 Nikita 132 Polanski, Roman 65 No Body is Perfect 124 Pollock, Griselda 88 Noe, Gaspar 43, 44, 52-4, 66, 132, porno-chic, concept of 122, 130 138, 141, 142 Pornocratie 44, 57, 90, 92, 93, 95 The Nude 127 Porn of the Dead 124 Nussbaum, Martha 89 The Pornographer 125 pornography 198n25 0 academicization of 123 objectification 124 aesthetic and 60-1 Obscene Publications Act 127 Attwood on 121-2, 197n5 Index 211

cognitive capabilities 60 Renoir, jean 4 eroticism and 82 repulsive bodies 129 evolutionary considerations 58--60, Reservoir Dogs 1 131-2 rhetoric of boredom 58 historical perspectives Richards, !.A. 60 (mid-eighteenth century) 126-7 Richardson, Samuel 64 Kipnis on 129-30, 131 Riegl, Alo'is 96 "maximum visibility" 102, The River 134 193n52 Roddick, Nick 63 modernism and 60-1 Romance 2, 5, 9, 17, 58, 62, 89, 90, researching 123, 197nll 94, 100 slasher/zombie film 124 Rosemary's Baby 49 and social relationships 65-6 Roth vs. United States case 127 Sontag on 121 Ruffalo, Mark 98 see also metapornographic Rushton, Richard 46 imagination; voyeurism Russo, Mary 35 Pornography: A Secret History of Ryan, Meg 87, 98, 99, 103 Civilisation 124 pornosphere 122, 124, 125 s Pornucopia: Going Down in the sadism 65 Valley 124 sadomasochism 65 The Portrait of a Lady 99, 100 cinematic horror and 178n3 post-porn 197n6 Sailor's Meat 21 Preminger, Otto 58 Salo 23-4, 123 Prince, Richard 140 San Francisco Chronicle 71 Princess 125 Sauve qui peut 104 productive vision 95 Saw 15, 16, 49 prohibition scandalous body 111, 193n73 transgression and 59 Schneemann, Carolee 21, 124 provocation 64 Schopenhauer, Arthur 54 132 scopic entelechy 31 Punday, Daniel 34 scopophilia 88, 94, 97, 117, 151 Screen theory 45, 47 Q Seidl, Ulrich 25, 26-35, 64 Quandt, James 17 self-degradation, acts of 131 Quatre nuits d'un reveur/Four Nights of "sensate culture" 136 a Dreamer 91 Seul contre taus 2, 17, 44, 68, 132, 142 R Sevigny, Chloe 71 "rape-revenge" movies 132 Sex: The Annabel Chong Story 124 Rapold, Nicolas 134 Sex and the City 99 Rated X 124 Sex is Comedy 90, 125 Ravenhill, Mark 138 sexual culture, commodification realcore 130, 199n45 of 126 realism 59, 81, 82 sexual experimentation 113, 114 reality show 29 sexuality Regina vs. Hicklin case 126 consciousness and 94, 192n36 regulation female 87, 88, 89, 93, 94, 103, of obscenity 126-7 117, 192n48 Reich, Wilhelm 58, 82 "maximum visibility" and 102 212 Index sexualization 122, 129 McNair on 128-9, 131 increasing cinematic representations see also metapornographic of (background) 58-9 imagination see also pornography; striptease Studlar, Gaylyn 51 culture subversive cinema 131, 148 Sexual Personae 93 Vogel on 38-9 sexual transgression Superstar: The Karen Carpenter Story 145 metapornographic Swinburne, Charles 60 imagination 127-8 Sync 140, 143 Sharrett, Christopher 159, 202n22 Shaviro, Steven 153, 201n7 T Sherman, Cindy 124 tableaux vivants, in Hundstage 30, 34 shock 58, 63 tactile images 102 "showing seeing" 155 Tapage Nocturne/Nocturnal Uproar 89 Siffredi, Rocco 10 Tarkovsky, A. 66 Sight and Sound 67, 146, 157 Taylor, Clyde R. 84, 157, 190n2 Silverman, Kaja 35, 90 Taylor-Wood, Sam 141-2 Sirk, Douglas 177n6 Technologies of Gender 102 Sitcom 68 Texas 79 Sitney, P. Adams 128 Thaler, Wolfgang 30 Skin 124 Thelma and Louise 132 Slant Magazine 138 The Mask of Art 157 slasher/zombie film 124 Third Earl of Shaftesbury 59 Sleeping With the Enemy 132 This Girl's Life 125 Sleepless in Seattle 103 to-be-looked-at-ness 89 Slatkin, Richard 48-9, 54 Todorov, Tzvetan 36 slow seeing 58 To the Lighthouse 100 Smith, Jack 58 Transfigurations 2, 6, 7 The Social Network 23 transgression 6-7, 57, 58, 64, 128, social relationships 163-4, 177n9 pornography and 65-6 Cache 158-9 Society of the Spectacle 121, 197n4 La Pianiste 107-9 9 Songs 5, 62, 65, 67, 68-9, 70, 83 and prohibition 59 The Son's Room 49 rationale for 39-41 Sontag, Susan 38, 52, 121, 196n1 transgressive cinema 3, 59, 62, 84, Sorokin, Pitirim 136 88, 89 "spaces of impropriety" 87, 96 censorship and 40 spasmodic cinema 24 Julius on 37, 38, 40, 182n83 spassing, in The Idiots 16, 17, 25 Kaufmann on 38 Speck, Oliver 154, 202n12 rationale of 38-41 spectatorship 45-7 Sontag on 38 The Steadfast Tin Soldier 50 values of 38-40 Steinberg, Leo 56 tropology of intertia 57-83 Stern, Lesley 7, 87, 96, 190n8 Trouble Every Day 3, 5, 9, 17, 27, 49, Sterritt, David 54 65, 85, 87, 111-20, 144, 152 Straayer, Chris 82 aesthetics 115-16 Straw Dogs 1, 5, 156 haptic criticism 117 striptease culture 122, 123, 125-6, Truffaut, Franc;:ois 144 127, 128, 130, 143 Tsai Ming-liang 133, 134-5, 146 Index 213

Twentynine Palms 5, 9, 17, 62, 65, pleasurable looking and 101 67, 70, 83, 131 see also pornography criticism 71-9 "voyeurism of exactitude" 122 landscapes in 75-8 violence in 80-1 w Twin Peaks 49 "waning of affect" 158, 202n21 Twisted Path of Love 128 Warhol, Andy 58, 65 Two-Lane Blacktop 70 The Wayward 9 The Ultimate Collection of Video The Wayward Cloud 125, 128, 130, Nasties 18 131, 133-4, 143, 144, 146, 149 negative reviews 134-7 u Weekend 16, 69 Ulysses 60 9'h Weeks 140 The Umbrellas of Cherbourg 134 We Fuck Alone 142, 143, 144 Un Chien andalou 47 What Do Pictures Want? 152 uncomfortable images 151 What Time is it There? 134 Une vraie jeune fllle/A Real Young Wheatley, Catherine 29, 109 Girl 89 When Harry Met Sally 103 Unforgiven 132 54, 61 unwatchable films 88, 163-4 Willemen, Paul 60, 89 unwatchable moments 23-4 Williams, Linda Ruth 62, 63, 64, 67, 83, 99, 118, 186n5, v 187n13, 195n10~ 197n10 Variety 112, 124, 143, 193n75 neologism on/scenity 122, 123 Vee, Nancy 141 Wind, Edgar 39 Vendredi Soir 5, 65, 67, 69-70 Winterbottom, Michael 68, 125 Vertigo 100 Witchcraft Through the Ages 49 Viaggio in Italia (1954) 67 Wollen, Peter 120, 196 The Village Voice 27, 104, 114, 134, women 138, 194n82 aesthetics and 86, 119 violence desire of 85-6, 101, 102, 118 in cinema 1, 2, 46 images of 85, 86, 89, 96 cinematic representations of 61 sexuality 87, 88, 89, 93, 94, 99, sexualized 75-7 103, 117, 192n36, 192n48 Twentynine Palms 80-1 Wonderland 124 upon viewer 46 Worringer, Wilhelm 96 visceral seeing 35, 112 visual pleasure 88, 190-1n9 X Vogel, Amos 38-9, 131, 148 The XXXorcist 124 Vogler, Amos 63 von Schelling, Friedrich 78 y von Trier, Lars 2, 16, 25, 43, 47-50, You've Got Mail 103 64,65, 76,130,144, 179n4, 179n6 z voyeurism 94, 101, 102, 117, 124 Zabriskie Point 79