TY - JOUR
T1 - Le cinéma français face à la violence: du New French Extremism à une violence intériorisée
T2 - du New French Extremism à une violence intériorisée
AU - Chevalier, Karine
N1 - © 2016. This is an author produced version of a paper published in Modern and Contemporary France uploaded in accordance with the publisher’s self- archiving policy, embargoed until 13/04/2018. The final published version (version of record) is available online at http://dx.doi.org/10.1080/09639489.2016.1218450. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.
PY - 2016/10
Y1 - 2016/10
N2 - This article revisits the portrayal of violence in French cinema. It shows how and why a number of French directors, whose work has been labelled as New French Extremism, (Catherine Breillat, Claire Denis, Gaspar Noé, Bruno Dumont) have depicted violence in an extreme way since the beginning of the twenty-first century. If this trend of violence in films and from films is an important step in the specific context of France, the purpose of this article is to demonstrate that some recent films, such as Bande de filles/Girlhood (Céline Sciamma, 2014), will consequently choose to address the issue of violence by internalising it. These films combat images of violence and thus offer an innovative perspective on the banlieue or on war. The public is invited once again, and in a less brutalising way, to partake in the construction of a reinvigorating, utopian collective viewing.
AB - This article revisits the portrayal of violence in French cinema. It shows how and why a number of French directors, whose work has been labelled as New French Extremism, (Catherine Breillat, Claire Denis, Gaspar Noé, Bruno Dumont) have depicted violence in an extreme way since the beginning of the twenty-first century. If this trend of violence in films and from films is an important step in the specific context of France, the purpose of this article is to demonstrate that some recent films, such as Bande de filles/Girlhood (Céline Sciamma, 2014), will consequently choose to address the issue of violence by internalising it. These films combat images of violence and thus offer an innovative perspective on the banlieue or on war. The public is invited once again, and in a less brutalising way, to partake in the construction of a reinvigorating, utopian collective viewing.
KW - Violence
KW - New French Extremism
KW - Banlieue
U2 - 10.1080/09639489.2016.1218450
DO - 10.1080/09639489.2016.1218450
M3 - Special issue
VL - 24
SP - 411
EP - 425
JO - MODERN & CONTEMPORARY FRANCE
JF - MODERN & CONTEMPORARY FRANCE
IS - 4
ER -