
Contents
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Contemporary Extreme Art Cinema: ‘New French Extremity’ and Beyond Contemporary Extreme Art Cinema: ‘New French Extremity’ and Beyond
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‘New French Extremity’: Hyperbole and Ballyhoo ‘New French Extremity’: Hyperbole and Ballyhoo
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Beyond France: Hybridity and Changing Representations Beyond France: Hybridity and Changing Representations
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The Decline of the European Exploitation Tradition … and the Return of Excess The Decline of the European Exploitation Tradition … and the Return of Excess
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Extreme European Horror Cinema: Negating European-ness Extreme European Horror Cinema: Negating European-ness
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Extreme European Horror Cinema: Promoting European-ness and Borrowing Extreme European Horror Cinema: Promoting European-ness and Borrowing
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Extreme European Horror Cinema: Conflict, Hybridisation and Adaptation Extreme European Horror Cinema: Conflict, Hybridisation and Adaptation
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6 Contemporary Extremity on DVD: Trends, Hard-core and Geographic Mobility
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Published:September 2018
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Abstract
This chapter continues the selective history of extreme art cinema instigated in Chapter 3. Focusing predominantly on the releases of Artificial Eye and Tartan Video, the chapter details the re-emergence of extremity in France during the late 1990s and early 2000s, and looks at the paratextual treatment of Gaspar Noé, Catherine Breillat, and Claire Denis. Thereafter, the chapter expands its geographic lens, and examines extreme art production across Europe, with analysis of The Idiots, Man Bites Dog, Tesis, A Hole in my Heart and Dogtooth. The separation of New French Extremity from other forms of European extremity allows the French films’ impact to be appropriately measured. In essence, the chapter argues that the success of the New French Extremity changed paratextual representations of extremism, making them more popular, common and commercially viable. Thereafter, the chapter considers extreme horror narratives such as Martyrs, Frontier[s], and Switchblade Romance, outlining the way they influence and become influenced by paratextual images of extreme art cinema. By adopting this structure, the chapter again exposes the importance of both highbrow and lowbrow taste within the conceptualisation of extreme art cinema.
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