Genre Trouble and Extreme Cinema, DOI 10.1007/978-3-319-65894-0 232 Filmography

Home , 36 Fillette, Abuse of Weakness, Anatomy of Hell, Brief Crossing, Carlos Reygadas, Extreme cinema

Filmography

Ascher, Rodney. 2012. Room 237. Bertolucci, Bernardo. 1971. Last Tango in Paris. Bigelow, Katheryn. 1995. Strange Days. Breillat, Catherine. 1976. A Real Young Girl. ———. 1988. 36 fllette. ———. [1996] 2001. Perfect Love. Winstar Video. DVD. ———. 1999. Romance. ———. [2001] 2011. Fat Girl. The Criterion Collection. Blu-ray. ———. [2001] 2004. Brief Crossing. Wellspring Media. DVD. ———. [2002] 2005. Sex is Comedy. Metro-Goldwyn-Mayer. DVD. ———. 2004. Anatomy of Hell. ———. [2007] 2008. The Last Mistress. Métropole Film Distribution. DVD. ———. [2009] 2010. Bluebeard. Strand Releasing. DVD. Campion, Jane. 1993. The Piano. Cuarón, Alfonso. 2013. Gravity. Warner Brothers. Blu-ray. Damiano, Gerard. 1972. Deep Throat. De Van, Marina. 2002. In My Skin. Denis, Claire. 2001. Trouble Every Day. Despentes, Virginie and Coralie Trinh Thi. 2000. Baise Moi. Dreyer, Carl. Th. 1928. The Passion of Joan of Arc. Eisenstein, Sergei. [1924] 2011. Strike. Kino Video. Blu-ray. ———. 1928. October: Ten Days that Shook the World. Gibert, Pierre-Henri. [2010] 2013. The Essence of Forms, in A Man Escaped. Dir. Robert Bresson. The Criterion Collection. Blu-ray. Grandrieux, Philippe. 2002. La Vie nouvelle. Guiraudie, Alain. 2013. Stranger by the Lake.

Haneke, Michael. 1989. The Seventh Continent. ———. 1992. Benny’s Video. ———. 1997. Funny Games. ———. [2009] 2010. The White Ribbon. Sony Pictures Classics. DVD. ———. 2012. Amour. Hitchcock, Alfred. 1958. Vertigo. ———. 1959. North by Northwest. Kaplan. Jonathan. 1988. The Accused. Kechiche, Abdellatif. [2013] 2014. Blue is the Warmest Color. The Criterion Collection. Blu-ray. Leigh, Julia. 2011. Sleeping Beauty. McQueen, Steve. 2011. Shame. Oshima, Nagisa. [1976] 2009. In the Realm of the Senses. The Criterion Collection. DVD. Ozon, François. 2013. Young and Beautiful. Pasolini, Pier Paolo. 1975. Salò. Renoir, Jean. Rules of the Game. 1939. Reygadas, Carlos. 2002. Japón. Tartan Video. DVD. ———. [2005] 2009. Battle in Heaven. Palisades Tartan. DVD. ———. [2007] 2008. Silent Light. eOne Films. DVD. ———. [2012] 2013. Post Tenebras Lux. Strand Releasing. Blu-ray. Seidl, Ulrich. 2003. Jesus, You Know. Van Sant, Gus. 2002. Gerry. Von Trier, Lars. 2014. Nymph()maniac. Wagoner, Bryce. 2010. After Porn Ends. Warhol, Andy. 1963. Blow Job. ———. 1965. Sleep. Winterbottom, Michael. 2004. Nine Songs. Zarchi, Meir. 1978. I Spit on Your Grave. Bibliography

Anderson, Jeffrey M. n.d. Plump Chump. Combustible Celluloid. http://www. combustiblecelluloid.com/2001/fatgirl.shtml. Accessed 17 June 2013. Austin, Guy. 2004. The Amateur Actors of Cannes 1999: A Shock to the (Star) System. French Cultural Studies 15 (3): 251–263. Badt, Karin. 2009. The Disturbing Vision of Director Carlos Reygadas: ‘Life is Magic!’. Huffngton Post, 28 July, n.p. http://www.huffngtonpost.com/ karin-badt/the-disturbing-vision-of_b_243802.html. Accessed 25 Apr 2014. Barker, Martin. 2010. ‘Typically French?’: Mediating Screened Rape to British Audiences, In Rape in Art Cinema, ed. Dominque Russell, 145–158. New York and London: Continuum. Blackwelder, Rob. n.d. Is there a shrink in the house? Spliced Wire. http:// splicedwire.com/01reviews/fatgirl.html. Accessed 17 June 2013. Bordun, Troy. 2015. Mexico is Bleeding: The Films of Carlos Reygadas. http:// www.vimeo.com/troybordun. Butler, Eleri. 2012. Catherine Breillat: Anatomy of a Hard-Core Agitator. In Peep Shows: Cult Film and the Cine-Erotic, ed. Xavier Mendik, 57–69. London and New York: Wallfower. Carter, Angela. [1979] 2000. Polemical Preface: Pornography in the Service of Women. In Feminism and Pornography, ed. Drucilla Cornell, 527–539. Oxford: Oxford University Press. Deren, Maya. [1960] 2011. Cinematography: The Creative Use of Reality. In Critical Visions in Film Theory, 144–156. Ellis, John. [1980] 2006. On Pornography. In Pornography: Film and Culture, ed. Peter Lehman. New Brunswick, NJ and London. Rutgers University Press.

Frey, Mattias. 2012. Tuning Out, Turning In, and Walking Off: The Film Spectator in Pain. In Ethics and Images of Pain, ed. Asbjørn Grønstad and Henrik Gustafsson, 93–111. New York and London: Routledge. Grønstad, Asbjørn. 2011. On the Unwatchable. In The New Extremism in Cinema: From France to Europe, ed. Tanya Horeck and Tina Kendall, 192–204. Edinburgh: Edinburgh University Press. Gunning, Tom. [1989] 2011. The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde. In Critical Visions in Film Theory: Classic and Contemporary Readings, ed. Timothy Corrigan, Patricia White, & Meta Mazaj, 69–77. Boston and New York: Bedford/St. Martin’s. Heath, Stephen. 1981. Questions of Cinema. Bloomington: Indiana University Press. Hilderbrand, Lucas. n.d. Fat Girl. Pop Matters. http://www.popmatters.com/ pm/review/fat-girl/. Accessed 18 June 2013. Keathley, Christian. 2006. Cinephilia and History, or The Wind in the Trees. Bloomington and Indianapolis: Indiana University Press. Lane, Jim. n.d. Idiotic Girl. News Review. http://www.newsreview.com/ sacramento/idiotic-girl/content?oid 10728. Accessed 17 June 2013. = Marquis, Elizabeth. 2013. Conceptualizing Documentary Performance. Studies in Documentary Film 7 (1): 45–60. Merleau-Ponty, Maurice. [1948] 2005. The World of Perception, trans. Oliver Davis. London and New York: Routledge. Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington and Indianapolis: Indiana University Press. Ontario Bans flm Fat Girl. n.d. CBC. http://www.cbc.ca/archives/categories/ arts-entertainment/visual-arts/artists-busted-censorship-in-canada/ontario- bans-flm-fat-girl.html. Accessed 10 Sept 2014. Perusse, B. 2003. Tedium: Then the End. In The Gazette, 21 March, n.p. http://search.proquest.com/docview/433919862?accountid 14391. = Accessed 14 Jan 2013. Quintin. For and Against: Carlos Reygadas. Sight & Sound 23 (4): 75. Rayns, Tony. 2013. Post Tenebras Lux. Sight & Sound 23 (4): 101. Reygadas, Carlos. 2009. Interview with Director Carlos Reygadas and Actress Anapola Mushkadiz. In Battle in Heaven. Palisades Tartan. DVD. Reygadas, Carlos, and Demetrios Matheou. 2003. A Good Place to Die (interview). Sight & Sound 13 (2): 10–12. Sullivan, Dan. 2013. Post Tenebras Lux. Film Comment 49 (2): 67. Tibbals, Chauntelle Anne. 2014. Gonzos, Trannys, and Teens – Current Trends in US Adult Content Production, Distribution, and Consumption. Porn Studies 1 (1–2): 127–135. Vincendeau, Ginette. 2007. The New French Extremism. In The Cinema Book, ed. Pam Cook, 3rd ed., 205. London: BFI. Bibliography 235

Waugh, Thomas. 2011. The Right to Play Oneself: Looking Back on Documentary Film. Minneapolis and London: University of Minnesota Press. Williams, Linda. 1995. Corporealized Observers: Visual Pornographies and the ‘Carnal Density of Vision’. In Fugitive Images: From Photography to Video, ed. Patrice Petro. Bloomington and Indianapolis: Indiana University Press. Wollen, Peter. [1969/1972] 1981. The auteur theory (extract). In Theories of Authorship: A Reader, ed. John Caughie, 138–151. London and New York: Routledge. Index

A Artaud, Antonin, 30 Abuse of Weakness (Breillat), 222, 223, Art cinema, 1, 8, 10, 23, 25, 29, 60, 225, 227 69, 80, 82, 90, 95, 108, 158, Accused, The (Kaplan), 156 177, 219 Acevedo, Natalia, 35 sexually explicit images in, 9, 33, Acting. See Performance 102, 108, 159, 180 Affect Aspect ratio, 53–55 Breger on, 157, 169, 176 Autofction, 24, 180, 186, 212, 223 Brinkema on, 11, 118, 133, 141, Avant-garde, 1, 3, 10, 29–32, 34, 42, 155, 157, 168, 169, 171, 176, 49, 54, 69, 96, 166, 218 177, 184, 186, 193, 206 Affective bleed, 184, 194, 211, 218 Affective fallacy, 170, 176, 193, 204 B After Porn Ends (Wagoner), 111 Badiou, Alain, 111 Altman, Rick, 1, 4, 5, 7, 9, 12, 24, Baise Moi (Despentes and Trinh Thi), 100–103, 219 137 Amour (Haneke), 226 Barker, Jennifer, 6, 16, 20–22, 24, 56, Anal sex, 45, 78, 124, 128, 140 61, 154, 175, 204–207, 209 Anatomy of Hell (Breillat), 107, 110, musculature, 20, 22, 53, 54 115–119, 125, 136, 149, 191 skin, 20, 21, 204 Animals, 37, 50, 67, 70, 80 viscera, 8, 20, 33 in Japón, 69, 76, 83 Barker, Martin, 114, 119, 136, 138, in Post Tenebras Lux, 34, 35, 37, 140, 147, 153, 154, 158 38, 46, 47, 49, 60, 78, 83, 85, Bataille, Georges, 22, 99, 100, 150, 89, 158 159, 191 Arnheim, Rudolf, 21, 40, 56

Battle in Heaven (Reygadas), 25, Bresson, Robert, 29, 165 29, 35, 37, 52, 68, 69, 71, 76, Brief Crossing (Breillat), 109, 110, 87, 111, 166, 167, 171–174, 187–189 177–179, 182, 189, 190, 193, Brinkema, Eugenie, 118, 140, 144, 213, 213, 217 146, 151, 154, 155, 158, 169, Bazin, André, 31, 85, 93, 111, 114, 171, 176, 177, 179, 184, 186, 149, 153, 158, 185, 186, 194 204 Benjamin, Walter, 210, 212, 214 on Breillat, 105, 108, 115, 118, Benny’s Video (Haneke), 155, 185 138, 140–142, 144, 147, 195, Bergson, Henri, 175, 210, 214 199 Best, Victoria, and Martin Crowley, on Haneke, 154, 155, 158 106 Brooks, Peter, 172 Beugnet, Martine, 1, 3, 6, 7, 9, 21, Burgin, Victor, 200, 205, 208–210 25, 31, 36, 48, 89, 100, 101, Butler, Judith, 9, 101 106, 115, 118, 134, 141, 159, 207 Bigelow, Katheryn, 156 C Bluebeard (Breillat), 149 Carel, Havi, 224, 226, 227 Blue is the Warmest Color (Kechiche), Carruth, Shane, 33, 34 104, 173 Cavell, Stanley, 2, 12, 25, 39, 62, 101, Body 103, 114, 119, 153, 169, 194, in response to flm, 2, 6–9, 11, 195, 219 199, 203, 204, 206 Chamarette, Jenny, 43, 141 phenomenology and, 6, 12, 16, 17, Chiesa, Lorenzo, 155 19, 21, 22, 23 Cinematography, 20, 47, 49, 54, 57, Body genres, 7, 14, 23, 100, 107, 91, 94, 106, 169, 176, 189 125, 147, 150, 158, 166, 173, close-up, 17, 21, 46, 54, 87 199 crane, 54–56 Bordwell, David, 10 hand-held, 52 Braidotti, Rosi, 77, 95 long take, 31, 38, 51, 60, 182, 207, Brakhage, Stan, 2, 29, 30, 32 226–228 Braudy, Leo, 5, 100 mounted camera, 20, 56 Breger, Claudia, 170, 176 point-of-view (POV) shot, 50, 51 Breillat, Catherine tracking, 20, 52, 54, 222 on actors, 180, 181, 184, 185, 187, Cinephilia, 2, 24, 222 190, 191, 225 Clover, Carol J., 146 on directing, 117 Colin, Grégoire, 131, 180, 223 on Fat Girl, 135, 147, 156, 182, Computer-generated images (CGI), 184, 186, 193, 204 51, 81, 88, 91, 92 on pornography, 99, 101, 106, 107, Cooper, Sarah, 67, 112, 193, 207 113, 114, 134, 199 Coulthard, Lisa, 142, 155, 156, 158, on Sex is Comedy, 181, 182, 186 195 Index 239

D Merleau-Ponty on, 6, 12–15, 17 Dargis, Manohla, 92, 213 Eroticism Death opposed to pornography, 106, 108, melodramatic, 36 118, 200 murder, 46, 81, 151 Ethics suicide, 90 directing and, 67, 187, 190, 218 De Beauvoir, Simone, 128, 133, 183, spectatorship and, 69, 193, 195, 191 220, 222 Deep Throat (Damiano), 8, 107, 200, Excess, 7, 24, 36, 38, 47, 70, 82, 126, 213 141, 145, 153, 175, 176, 190, De Lauretis, Teresa, 95 207, 226. See also Body genres Deleuze, Gilles, 21, 22, 90, 211 Extreme cinema De Luca, Tiago, 6, 22, 24–25, 31, 34, and body genres, 1, 7, 14, 23 35, 50, 55, 60, 62, 68, 69, 71, history of, 2, 4 80, 165, 167, 173, 177, 178 infuences on, 9, 10 Deren, Maya, 30 Quandt on, 1, 99, 141, 173 Diffcult flm, 33, 34 Direction ethics of, 67, 187, 190, 218 F Discourses of sobriety, 74 Fantasy, 7, 36, 37, 43, 44, 46, 57, 60, 61, Doane, Mart Ann, 132, 186 68, 78, 80, 91, 94, 95, 109, 124, Documentary 140, 144–150, 202, 203, 210, 218 authenticity, 71, 72, 78, 92, 167 Fassbinder, Rainer Werner, 9 ethnographic, 71, 75, 178 Fat Girl (Breillat), 24, 78, 115, 119, performative, 68, 73–75, 77 123, 124, 126, 131–136, 138, Dooley, Kath, 110, 159, 169, 181 140–143, 146, 147, 150, 151, Dostoevsky, Fyodor, 44, 171 193, 207, 211, 217 Ducey, Caroline, 107, 114, 118, 184 close-ups in, 131, 134 Dulac, Germaine, 3, 49 duration, 131, 207, 218 Dumont, Bruno, 213 horror and, 123, 142, 143, 151 Duration, 111, 131, 176, 186, 207 identifcation with characters, 153, Dyer, Richard, 166, 169 205 melodrama and, 143, 146, 152, 199 narrative suspense and, 135 E non-pornography, 112, 135 Eisenstein, Sergei, 81–83 nudity in, 119, 133, 136, 170 Ellis, John, 107 performances in, 166, 167, 177, Elsaesser, Thomas, 3, 88 190 and Malte Hagener, 3 rape in, 147, 211 Embodiment, 6, 17, 20, 47, 57, 199. real sex in, 140 See also Phenomenology sexual numbers and, 108 altered states of, 36, 43, 57 sound and, 132 240 Index

Fellatio, 37, 139, 175–177 Hard Core (Williams), 101, 102, 111, Feminism, 95, 226 112, 131, 132, 140 Ferretis, Alejandro, 35, 76 Heath, Stephen, 115, 152, 200, 203 36 fllette (Breillat), 109 Hernández, Marcos, 35, 76, 165 “Film Bodies” (Williams), 7, 8, 145, Hitchcock, Alfred, 42, 184, 201 200 Horeck, Tanya, 1, 31, 101, 130, 134, Film’s body, 20, 53, 60, 61, 94, 206 136, 137, 142, 207, 226 Forms of the Affects, The (Brinkema), Horror. See Modleski, Tania; Williams, 118, 169, 171, 212 Linda France, 10, 12, 17, 159, 218 Fat Girl and, 110, 123, 142, 146, Frey, Mattias, 1, 3, 10, 101, 104, 119, 159, 217 124, 159, 168, 173 horrible, 152, 154–158 Fried, Michael, 30 Huppert, Isabelle, 224

G I Generic crossroads, 5, 12 Identifcation, 42, 52, 53, 70, 89, Genre. See Under individual entries 152–154, 156, 205 Genre Immediacy, 168, 218, 220 conventions, 141, 151 Ince, Katherine, 180, 182, 192, 226 expectations, 141, 155 In My Skin (De Van), 226 trouble, 24 In the Realm of the Senses (Oshima), Gerry (Van Sant), 50, 60 127 Grandrieux, Philippe, 22 Irreversible (Noé), 33, 62, 82, 137, Grant, Barry Keith, 217 207 and Steve Blandford and Jim Hillier, I Spit on Your Grave (Zarchi), 154 4 Gravity (Cuarón), 92 Grierson, John, 3, 68 J Grønstad, Asbjørn, 1, 115, 117, 118, Japón (Reygadas), 29, 35, 51, 53, 68, 207 76 Guillain, Giles, 109, 188–190 Jesus, You Know (Seidl), 77 Gunning, Tom, 113, 135, 150 Jiménez Castro, Adolfo, 35 Jonathan L. Knapp, 124, 127, 142, 143 H Haebophilia, 136 Haneke, Michael, 154–156, 226 K Hapticity, 21, 49. See also Beugnet, Keathley, Christian, 60 Martine; Marks, Laura U. Keesey, Douglas, 99, 108, 129, 130, hearing, 155, 156 137, 149, 182, 186, 188, 189, visuality, 21, 22, 25, 48, 55, 56, 62, 223 157, 158, 204–208 Kendall, Tina, 31, 101 Index 241

Kerner, Aaron Michael, 124, 127, Merleau-Ponty, Maurice, 6, 12–20, 142, 143 37, 47, 53, 57, 59 Khanjian, Arsinee, 128 Mesquida, Roxane, 24, 107, 123, 126, Koehler, Robert, 33, 35, 38, 43, 46, 132, 138, 147, 169, 181–183, 50, 56, 73, 76, 88 212, 213 Kool Shen, 224 Metz, Christian, 112, 113, 116, 200 Kracauer, Siegfried, 11, 151 Mexico, 10, 12, 17, 29, 35, 41, 54, Krisjansen, Ivan, 130 74–76, 88 Minh-ha, Trinh T., 3 Misogyny, 115, 188 L Modleski, Tania, 152, 154 Lacan, Jacques, 22, 155, 200, 201 Mulvey, Laura, 108, 112, 114, 116, Laine, Tarja, 81 117, 125, 132, 194, 195 Laplanche, Jean, 148, 149 Munter, Carol, 144 Last Mistress, The (Breillat), 166, 190 Mushkadiz, Anapola, 68, 165 Last Tango in Paris (Bertolucci), 8, 127 Laughter, 7, 213 N Leys, Ruth, 4 Ndalianis, Angela, 143, 145 Lim, Dennis, 37, 38, 50, 69, 76 Neale, Steve, 4, 13, 100 Lingis, Alphonso, 13–15, 36, 47, 48, Nichols, Bill, 73–75, 82 55, 57, 80 Nine Songs (Winterbottom), 166 Lyotard, Jean-François, 133, 152 Nymph()maniac (Von Trier), 104

M O Maddock, Trevor H., 130 Olvidados, Los (Buñuel), 59 Madison, Gary Brent, 13, 16 Ontology, 180, 221 Malick, Terence, 34, 56 5x2 (Ozon), 62 Manovich, Lev, 92, 93 Ozon, François, 62, 127, 171 Marks, Laura U., 6, 16, 21, 48, 56, Ozu, Yasujirō, 54 204, 205, 209, 210, 212 Melodrama, 7, 123, 127, 134, 158 and death/dying, 89 P teen, 119, 134, 172 Paasonen, Susanna, 105, 106, 167 Memory, 17, 43, 46, 74, 114, 149, kinesthetic empathy, 175, 176 195, 204, 207. See also Burgin somatic archive, 167, 175–179, involuntary, 210, 212 181, 194 voluntary, 210 Parillaud, Anne, 180, 223 Men Passion of Joan of Arc, The (Dreyer), identifcation with characters, 153 194 masculinity, 146, 154 Penn, Sheldon, 36, 165, 172, 177 Menstruation, 118 242 Index

Perception, 2, 13–16, 19, 21, 31, 38, Reygadas and, 165, 167, 171, 186, 49, 54, 56, 60, 114, 205, 206, 189, 193 209. See also Embodiment Postmodernism, 4, 10, 152 altered states of, 30, 31, 43, 50, Post Tenebras Lux (Reygadas) 54–58, 60, 94 CGI in, 51, 88, 91 levels, 37, 42, 48, 50, 54, 57, 58, 60 cinematography and, 17, 20, 30, 37, phenomenology of, 13–20 42, 49, 60, 91, 94, 106 Perfect Love (Breillat), 87, 157, 188, 225 death in, 68, 84, 85, 88, 89, 91, 94, Performance, 20, 22, 24, 74, 89, 165, 211 166 diffculty of, 77 Dyer on, 166, 169 excess and, 24, 38, 39, 70 presentational, 178 haptic visuality and, 48, 55, 56 representational, 178, 179 performative documentary and, 68, sexual, 68, 111, 165, 167, 179, 73, 75, 77 187, 190, 195, 200 proflmic event and, 68, 69, 72, Waugh on, 178 75–77, 80, 85, 86, 92, 93, Williams on, 166 95, 104, 136, 142, 177, 179, Phenomenological flm theory, 6, 12, 184–188, 205, 212, 214, 226 16, 19, 22, 23, 25, 32, 53, 67, sensation and, 6, 7, 12, 15, 23, 32, 125, 151, 157, 171, 175, 200, 33, 36, 43, 48, 49, 62, 96, 159 204, 219, 220, 222 sex in, 31, 59, 62, 77, 78, 200, 219 Phenomenology, 6, 12, 16, 17, 19–23, slow cinema and, 60 32, 48, 61, 214, 224, 226. See visionary realism and, 31, 34, 50 also Merleau-Ponty, Maurice Powell, Anna, 157 habit body, 13, 17, 24, 59 Pratt, Sarah, 109, 188 lived body, 13–15, 17, 62, 166, 206 Principal genres, 30 Piano, The (Campion), 49 Proust, Marcel, 210 Plato, 30, 111 Psychoanalysis. See Chiesa, Lorenzo; Pontalis, Jean-Bertrand, 148, 149 Lacan, Jacques; Laplanche, Jean; Pornography, 101. See also Williams, Pontalis, Jean-Bertrand; Žižek, Linda Slavoj Breillat and, 10, 103, 104, 107– 112, 115–119, 123–129, 131–134, 187–189 Q fourth look, 115 Quandt, James, 1, 99, 141, 173 generic conventions, 9, 25, 34, 71, 95, 96, 100–102, 106, 108, 111, 113, 119, 124, 138, 158, R 165, 173, 179, 203 Rape, 20, 116, 128, 131, 132, 134, maximum visibility, 8, 105, 108, 137, 138, 140, 145–151, 153, 109, 113, 132, 137, 174 154, 156, 159, 182, 184, 186, non-pornographic, 104, 108, 110, 191, 204, 207, 211, 212, 218 120, 123, 175 Rayns, Tony, 42 Index 243

Realism, 10, 85, 106, 118, 149 Schatz, Thomas, 5, 100 Bazinian, 85, 186 Screening Sex (Williams), 8 surrealism, 31, 93 Sensual catachresis, 57, 61 visionary, 31, 34, 50 Seventh Continent, The (Haneke), 155 Reality Sex is Comedy (Breillat), 17, 24, 69, authenticity, 71, 72, 78, 92, 132, 78, 142, 166, 169, 173, 174, 167, 186 180–182, 184, 186, 190, 191, extradiegetic, 168, 181, 187, 193, 193, 195, 203–205, 208, 209, 194, 200, 205, 212, 214 211, 212, 217, 218, 220, 223 presence, 24, 25, 69, 72, 74, 76, document of bodies and sex, 154 80, 111, 158 long take in, 182, 186, 207 proflmic event, 21, 25, 37, 68, 72, paired roles with Fat Girl, 146, 75, 80, 82, 95, 104, 136, 142, 166 177, 205, 226 trauma and, 140, 166, 180, 212 Real sex onscreen, 31, 105, 111, 112, Sexual difference, 32, 67, 77, 78, 94, 134, 179, 185, 189 95, 99, 145, 148, 149, 159, 218, A Real Young Girl (Breillat), 118, 220, 223 149, 184, 191 Sexual relationships, 100, 108, 111, Reboux, Anaïs, 116, 123, 136 112, 114, 130, 158, 159, 167 Renoir, Jean, 82 compulsory monogamy, 67, 77, 80, Renov, Michael, 67, 70, 76 95 Reygadas, Carlos marriage, 67, 77, 78, 84 on actors, 55, 68, 69, 72, 76, 167 non-monogamous, 95 on Mexico, 35, 41, 54, 74–76 Shame (McQueen), 42 on pornography, 171 Siffredi, Rocco, 114, 115 on Post Tenebras Lux, 33, 37, 46, Silent Light (Reygadas), 29, 31, 35, 75, 85, 86 36, 54, 69, 86, 89 Reygadas, Eleazar, 30, 35 Sitney, P. Adam, 31 Reygadas, Rutilia, 35 Sleeping Beauty (Leigh), 105, 171, Rodowick, D.N., 221, 222 226 Romance (Breillat), 107, 109, 110, 114, Slow cinema, 60 115, 118, 119, 125, 134, 136, 139, Smith, Clarissa, 106 140, 147, 149, 184, 217, 219, 223 Smith, Murray, 29, 34 Room 237 (Ascher), 58 Smith, Paul Julian, 68, 203 Rossellini, Roberto, 29 Sobchack, Thomas, 5, 10, 13, 102 Ruiz, Bertha, 68, 166 Sobchack, Vivian, 6, 19, 20, 22, 32, Russon, John, 14, 59, 70 33, 49, 53, 57, 61, 62, 76, 82, Ryall, Tom, 4 83, 119, 204 Solórzano, Fernanda, 40–43, 72, 92 Staiger, Janet, 4 S Strange Days (Bigelow), 156 Sadomasochism, 125, 184 Stranger by the Lake (Guiraudie), 104 Salò (Pasolini), 99, 105 Stratton, G.M., 13 244 Index

T Williams, Linda, 5, 7, 8, 11, 102, 104, Tarkovsky, Andrei, 29 105, 107, 109, 124, 134, 142 Theatre, 30, 32, 53, 178 horror, 7, 132, 139, 142, 143, 145, Thompson, Kristin, 38, 39, 46 199 Tolstoy, Leo, 44 melodrama, 7, 88, 96, 100, 112, Torres, Willebaldo, 35, 89, 93 126 Torture porn, 142 pornography, 7, 24, 96, 100–102, Transgression, 1, 4, 141 104–107, 110, 111, 132, 140, Trouble Every Day (Denis), 106 176, 199, 200 Tsai, Ming-liang, 23, 60, 92 Wilson, Emma, 118, 139, 184 Wittgenstein, Ludwig, 10, 25, 170 Wollen, Peter, 169 V Women Vertigo (Hitchcock), 201 abuse of, 10, 32, 42, 191, 223, Vincendeau, Ginette, 1, 159, 207 225–228 Virginity, 128–130, 134, 146, 189, bodies of, 21 191 images of, 21 and sexual desire, 226

W Warhol, Andy, 166, 173 Y Waugh, Thomas, 178 Young and Beautiful (Ozon), 171 Wees, Bill, 30 Wheatley, Catherine, 6, 82, 100, 147, 159, 191 Z White Ribbon, The (Haneke), 155 Zabé, Alexis, 49, 93 Willemen, Paul, 115, 124, 125, 202 Žižek, Slavoj, 25, 68, 115, 125, 171, Williams, Alan, 30 195, 200–205, 208