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The Feel-Bad Film Nikolaj Lübecker Is Associate Professor in French at the University of Oxford, Fellow of St John’S College

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The Feel-Bad Film Nikolaj Lübecker Is Associate Professor in French at the University of Oxford, Fellow of St John’S College Edinburgh Studies in Film and Intermediality Series Editors: Martine Beugnet and Kriss Ravetto Founding Editor: John Orr NIKOLAJ NIKOLAJ A series of cutting-edge scholarly research monographs covering core aspects of film studies. The series’ internationally respected authors contribute analytical and often controversial volumes, offering a critical intervention into their subject. ‘Nikolaj Lübecker clearly and insightfully analyses many of the most controversial films of recent years by cinematic heavyweights like Michael Haneke, Lars von Trier, Claire L Denis and Gus Van Sant. In doing so, he invites his readers to reconsider movies in ÜBECKER general: maybe sometimes it’s not so bad for a movie to make us feel bad. As we root around for hope at a time when it seems thin on the ground, Lubecker paradoxically conjures hope where there seemed to be none. A unique and ground-breaking work.’ William Brown, Senior Lecturer in Film, University of Roehampton, London In recent years some of the most innovative European and American directors have made films that place the spectator in a position of intense discomfort. Systematically The Feel- manipulating the viewer, sometimes by withholding information, sometimes through shock or seduction, these films have often been criticised as amoral, nihilistic, politically irresponsible or even anti-humanistic. But how are these unpleasurable viewing experiences created? What do the directors believe they can achieve via this ‘feel-bad’ experience? How can we situate these films in intellectual history? And why B should we watch, study and teach feel-bad films? ad Film Answering these questions through the analysis of work by directors such as Lars von Trier, Gus Van Sant, Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Brian de Palma, Bruno Dumont and Harmony Korine, The Contemporary Feel-Bad Film invites readers to consider cinematic art as an experimental activity with ethical norms that are wholly different from the ones we would hope to find outside the movie theatre. The Feel-Bad Film Nikolaj Lübecker is Associate Professor in French at the University of Oxford, Fellow of St John’s College. He teaches Film Studies and Modern French Literature. Cover image: Still from Dogville, 2003 © Zentropa Entertainment Cover design: Marie d’Origny Lübecker. Series design: Barrie Tullet NIKOLAJ LÜBECKER ISBN 978-0-7486-9797-7 9780748 697977 EDINBURGH STUDIES IN FILM AND INTERMEDIALITY The Feel-Bad Film Edinburgh Studies in Film and Intermediality Series editors: Martine Beugnet and Kriss Ravetto Founding editor: John Orr A series of scholarly research intended to challenge and expand on the various approaches to film studies, bringing together film theory and film aesthetics with the emerging intermedial aspects of the field. The volumes combine critical theoretical interventions with a consideration of specific contexts, aesthetic qualities, and a strong sense of the medium’s ability to appropriate current technological developments in its practice and form as well as in its distribution. Advisory board Duncan Petrie (University of Auckland) John Caughie (University of Glasgow) Dina Iordanova (University of St Andrews) Elizabeth Ezra (University of Stirling) Gina Marchetti (University of Hong Kong) Jolyon Mitchell (University of Edinburgh) Judith Mayne (The Ohio State University) Dominique Bluher (Harvard University) Titles in the series include: Romantics and Modernists in British Cinema John Orr Framing Pictures: Film and the Visual Arts Steven Jacobs The Sense of Film Narration Ian Garwood The Feel-Bad Film Nikolaj Lübecker American Independent Cinema: Rites of Passage and the Crisis Image Anna Backman Rogers Visit the Edinburgh Studies in Film website at www.euppublishing.com/series/ESIF The Feel-Bad Film Nikolaj Lübecker © Nikolaj Lübecker, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in Garamond MT Pro by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9797 7 (hardback) ISBN 978 0 7486 9798 4 (webready PDF) ISBN 978 0 7486 9799 1 (paperback) ISBN 978 0 7486 9800 4 (epub) The right of Nikolaj Lübecker to be identified as Author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Illustrations vi Acknowledgements vii Introduction 1 Chapter 1: Assault 16 1.1 The Inner Bastard: von Trier’s Dogville 16 1.2 Ethics Via the Body: Funny Games, Daisy Diamond and Jacques Rancière 32 1.3 Going Too Far? De Palma’s Redacted 43 Chapter 2: Unease 60 2.1 Buying a Bunch of Radishes? Van Sant’s Elephant 60 2.2 An Ethics of Suspension: I Can’t Sleep, Hidden and Judith Butler 75 2.3 Embracing Childhood: Hadzihalilovic’s Innocence and Brakhage’s Kindering 83 Coda: Östlund’s Play – Between Assault and Unease 104 Chapter 3: Transgression, Transgression 111 Introduction: Third Generation Avant-Garde? 111 3.1 The Avant-Garde as Tragedy: Dumont’s Twentynine Palms 114 3.2 Desperation Films: Code Blue, In My Skin and Les Salauds 125 3.3 The Avant-Garde as Farce? Korine’s Trash Humpers 145 Conclusion 167 Bibliography 176 Filmography 183 Index 186 List of Illustrations 1, 2 Lars von Trier, Dogville (2003). Produced by Zentropa. Nordisk Film DVD. (pages 17, 28) 3 Simon Staho, Daisy Diamond (2007). Produced by XX Films. SF Films DVD. (page 36) 4 Brian de Palma, Redacted (2007). Produced by Magnolia Pictures. Optimum Releasing DVD. (page 55) 5, 6 Gus Van Sant, Elephant (2003). Produced by HBO Films, Meno Film Company. Scanbox Entertainment DVD. (pages 68, 72) 7 Édouard Manet: The Execution of Maximilian (1869). Oil on canvas, 252 × 305 cm. Kunsthalle Mannheim. Photograph: Margita Wickenhäuser. (page 72) 8 Lucille Hadzihalilovic: Innocence (2004). Produced by Ex Nihilo. Artificial Eye DVD. (page 89) 9 Stan Brakhage: Kindering (1987). Under license from Stan Brakhage. Criterion Collection DVD. (page 97) 10 Ruben Östlund: Play (2011). Produced by Platform Produktion. SF DVD. (page 107) 11 Michelangelo Antonioni: Zabriskie Point (1970). Produced by MGM. Turner Entertainment DVD. (page 119) 12 Bruno Dumont: Twentynine Palms (2003). Produced by 3B Productions. Tartan DVD. (page 120) 13 Carl Th. Dreyer: Ordet (1955). Produced by Palladium Film. BFI DVD. (page 129) 14 Urszula Antoniak: Code Blue (2011). Produced by IDTV Film & Family Affair Films. Bavaria Media DVD. (page 129) 15 Marina de Van: In My Skin (2002). Produced by Lazannec. Tartan DVD (page 134) 16 Claire Denis: Les Salauds (2013). Produced by Alcatraz Films. Wild Bunch DVD. (page 142) 17 Harmony Korine: Trash Humpers (2009). Produced by O’Salvation Cine/Alcove Entertainment. Drag City DVD. (page 152) Acknowledgements The topic and title might not suggest it, but this book has been a pleasure to write. Not least I have enjoyed discussing the ideas with students, colleagues and other friends, first at the University of Aberdeen, then at the University of Oxford. One particularly dark winter evening after a screening of Michael Haneke’s The Seventh Continent (or was it Ulrich Seidl’s Animal Love?), I over- heard one Aberdeen student say to another: ‘Every week I come here, and I think it can’t possibly get any worse than last week; then he comes up with this!’ Apologies – and thank you for all the discussions that followed. Many of the analyses were first presented at conferences and workshops in Europe and the US. A number of these events were particularly important for the project: thank you to Tanya Horeck and Tina Kendall for organising the excellent conference on The New Extremism at Anglia Ruskin University; this was my first opportunity to present on material that had not yet crystal- lised into the present project, and a chance to meet colleagues who worked on similar issues. Many thanks also to Martine Beugnet and Kriss Ravetto for the fantastic workshop on Figures of the Visceral at the University of Edinburgh. Closer to completion, I would like to thank Jørgen Bruhn, Anne Gjelsvik and Eirik Frisvold Hanssen who invited me to present at the 2013 conference of The Association of Adaptation Studies, thereby pushing me to consider the relation between transgressive traditions across the twentieth and twenty-first centuries. Sections of this book have been published in article form: an earlier version of the Dogville analysis appeared in The New Extremism in Cinema: From France to Europe (eds Horeck and Kendall), Twentynine Palms was the subject of an article published in Studies in French Cinema (vol. 11: 3), and I engaged in greater detail with Claire Denis’s I Can’t Sleep and with Didi-Huberman’s book on Brecht in two articles published in Paragraph (30: 2 and 36: 3). I would also like to thank William Brown, Patrick Hayes, Tina Kendall, Angelos Koutsourakis and Simon Ward for delivering feedback on various aspects of this project, and Stephen Ross for helping me to sound more English than I would otherwise have done. I am grateful to the San Cataldo Foundation for a residential grant that viii Acknowledgements allowed me to work on the manuscript while enjoying the most amazing view of the Amalfi coast (although I should have been writing instead from a basement in the red light district in Bombay (see section 1.1)); and to St John’s College, Oxford for giving me the opportunity to travel to the relevant conferences and for generally being such an exceptional place to work. It has been a pleasure to work with Gillian Leslie and her extremely supportive team at Edinburgh University Press: Richard Strachan, Rebecca Mackenzie, James Dale and not least the outstanding copy-editor Anna Oxbury; and I would particularly like to thank the series editors Kriss Ravetto and Martine Beugnet (again) for their excellent critical observations and encouragements.
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