The Feel-Bad Film (Edinburgh Studies in Film and Intermediality)

## An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort In recent years some of the best-known European and American art film directors have made films that place the spectator in a position of intense discomfort: Feel-Bad Films. These films systematically manipulate the spectator: sometimes by withholding information from her, sometimes by shocking her, and sometimes by seducing her in order to further disturb her. As a result, they have been criticized for being amoral, nihilistic, politically irresponsible and anti-humanistic. __The Feel-Bad Film__ raises three questions to this body of work: How is the feel-bad experience created? What do the directors believe they can achieve in this manner? And how should the films be situated in intellectual history? Through close analysis of films by Lars von Trier, Gus Van Sant, Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Brian de Palma, Bruno Dumont and Harmony Korine, the book argues that feel-bad directors invite the spectator to think of art as an experimental activity with ethical norms that are different from the ones we hope to find outside the movie theatre. Only when given the freedom to take advantage of this asymmetry can film realize its ethical potential. ## Key features: * Detailed analyses of the work of some of the best-known contemporary art film directors * A stimulating contribution to current debates about the ethics and politics of cinematic spectatorship * The conceptualization of a cinematic genre that will allow us to reconsider debates about the social potential of film ## Case studies include: - Lars von Trier: __Dogville__ (Denmark) - Brian de Palma: __Redacted__ (US) - Gus Van Sant: __Elephant__ (US) - Lucille Hadzihalilovic: __Innocence__ (France) - Stan Brakhage: __Kindering__ (US) - Ruben Östlund: __Play__ (Sweden) - Bruno Dumont: __Twentynine Palms__ (France) - Harmony Korine: __Trash Humpers__ (US) An analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort. In recent years some of the best-known European and American art film directors have made films that place the spectator in a position of intense discomfort: Feel-Bad Films. These films systematically manipulate the spectator: sometimes by withholding information from her, sometimes by shocking her, and sometimes by seducing her in order to further disturb her. As a result, they have been criticized for being amoral, nihilistic, politically irresponsible and anti-humanistic. The Feel-Bad Film raises three questions to this body of work: How is the feel-bad experience created? What do the directors believe they can achieve in this manner? And how should the films be situated in intellectual history? Through close analysis of films by Lars von Trier, Gus Van Sant, Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Brian de Palma, Bruno Dumont and Harmony Korine, the book argues that feel-bad directors invite the spectator to think of art as an experimental activity with ethical norms that are different from the ones we hope to find outside the movie theatre. Only when given the freedom to take advantage of this asymmetry can film realize its ethical potential. Key features:. Detailed analyses of the work of some of the best-known contemporary art film directors A stimulating contribution to current debates about the ethics and politics of cinematic spectatorship The conceptualization of a cinematic genre that will allow us to reconsider debates about the social potential of film Case studies include:. Lars von Trier: Dogville (Denmark) Brian de Palma: Redacted (US) Gus Van Sant: Elephant (US) Lucille Hadzihalilovic: Innocence (France) Stan Brakhage: Kindering (US) Ruben Ã6stlund: Play (Sweden) Bruno Dumont: Twentynine Palms (France) Harmony Korine: Trash Humpers (US) Presents an analysis of what contemporary directors seek to attain by putting their spectators in a position of strong discomfort. In recent years some of the best known European and American art film directors have made films that place the spectator in a position of intense discomfort: Feel Bad Films. How are these unpleasurable viewing experiences created? What do the directors believe they can achieve via the feel bad experience? How can we situate the films in intellectual history? Why should we watch, study and teach feel bad films? These questions will be answered through analysis of films by directors such as Lars von Trier, Gus Van Sant, Claire Denis, Michael Haneke, Lucille Hadzihalilovic, Brian de Palma, Bruno Dumont and Harmony Korine. Features detailed analyses of the work of some of the best known contemporary art film directors; a stimulating contribution to current debates about the ethics and politics of cinematic spectatorship; the conceptualisation of a cinematic genre that will allow us to reconsider debates about the social potential of film; primary case studies include: Lars von Trier: Dogville (Denmark); Brian de Palma: Redacted (US); Gus Van Sant: Elephant (US); Lucille Hadzihalilovic: Innocence (France); Stan Brakhage: Kindering (US); Ruben Ostlund: Play (Sweden); Bruno Dumont: Twentynine Palms (France); Harmony Korine: Trash Humpers (US); Secondary case studies: Simon Staho: Daisy Diamond (Denmark); Claire Denis: I Can't Sleep (France); Michael Haneke: Hidden (France/Austria); Urszula Antoniak: Code Blue (Holland/Poland) and Claire Denis: The Bastards (France) 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 Manipulating The Viewer, Sometimes By Withholding Information, Sometimes Through Shock Or Seduction, These Films Have Often Been Criticised As Amoral, Nihilistic, Politically Irresponsible And 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 Should We Watch, Study And Teach Feel-bad Films? 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 Feel-bad Film Invites Readers To Consider Cinematic Art As An Experimental Activity With Ethical Norms That Are Radically Different From The Ones We Would Hope To Find Outside The Movie Theatre. Ch. 1 Assault -- Ch. 2 Unease -- Ch. 3 Transgression, Transgression. Nikolaj Lübecker. Includes Bibliographical References (pages [176]-182), Filmography (pages 183-185), And Index. 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 manipulating the viewer, sometimes by withholding information, sometimes through shock or seduction, these films have often been criticised as amoral, nihilistic, politically irresponsible or 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 should we watch, study and teach feel-bad films? Answering these questions through the analysis of work by directors such as Lars von Trier and Gus Van Sant, this book invites readers to consider cinematic art as an experimental activity with ethical norms that are radically different from the ones we would hope to find outside the movie theatre In recent years some of the best-known European and American art film directors have made films that place the spectator in a position of intense discomfort: Feel-Bad Films. Through analysis of films by directors such as Lars von Trier, Gus Van Sant and Claire Denis, amongst others, this book explores why we are attracted to these unpleasurable vie Title page 5 Copyright 6 Contents 7 List of Illustrations 8 Acknowledgements 9 Introduction 13 Chapter 1 Assault 28 Chapter 2 Unease 72 Coda Östlund’s Play, Between Assault and Unease 116 Chapter 3 Transgression, Transgression 123 Conclusion 179 Bibliography 188 Filmography 195 Index 198