Troubled Everyday : The Aesthetics of Violence and the Everyday in European Art Cinema

## Investigates the framing of the ordinary and the everyday in extreme European art film Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat’s __Fat Girl__ (2001), Gaspar Noé’s __Irreversible__ (2002) and Markus Schleinzer’s __Michael__ (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, __Troubled Everyday__ offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination. ## Case Studies * __Salò__ or the __120 Days of Sodom__ (Pasolini 1975) * __Money__ (Bresson 1983) * __Come and See__ (Klimov 1985) * __The Seventh Continent__ (Haneke 1989) * __I Stand Alone__ (Noé 1998) * __Fat Girl__ (Breillat 2001) * __Irreversible__ (Noé 2002) * __Twentynine Palms__ (Dumont 2003) * __Michael__ (Schleinzer 2011) Investigates the framing of the ordinary and the everyday in extreme European art film. Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat's Fat Girl (2001), Gaspar NoÃ♭'s Irreversible (2002) and Markus Schleinzer's Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Troubled Everyday offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination. Case Studies. SalÃø or the 120 Days of Sodom (Pasolini 1975) Money (Bresson 1983) Come and See (Klimov 1985) The Seventh Continent (Haneke 1989) I Stand Alone (NoÃ♭ 1998) Fat Girl (Breillat 2001) Irreversible (NoÃ♭ 2002) Twentynine Palms (Dumont 2003) Michael (Schleinzer 2011) Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat's Fat Girl (2001), Gaspar Noe's Irreversible (2002) and Markus Schleinzer's Michael (2011) seem so reliant on everyday routines and settings for their impact? Addressing these questions through a series of case-studies, and considering notorious films in their historical and philosophical context, Alice Taylor offers the first detailed examination of the relationship between violence and the everyday in European art cinema. It calls for a re-evaluation of what gives these films such affective force, and such a prolonged grip on our imagination. Case Studies include: Salo or the 120 Days of Sodom (Pasolini 1975) Money (Bresson 1983 Come and See (Klimov 1985) The Seventh Continent (Haneke 1989) I Stand Alone (Noe 1998) Fat Girl (Breillat 2001) Irreversible (Noe 2002)Twentynine Palms (Dumont 2003) Michael (Schleinzer 2011)