Titlebook: Genre Trouble and Extreme Cinema; Film Theory at the F Troy Bordun Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 extreme c

Indicative

978-3-319-88125-6The Editor(s) (if applicable) and The Author(s) 2017

Noctambulant

偶然

Carlos Reygadas, the Avant-Garde, and the Senses,ense conscious reality of the main characters as well as the dreams and fantasies of those characters—are immanent expressions of the film’s formal qualities. Further, the representation of these differing levels of reality offers a philosophical concept: dreams and fantasies are embodied experience

Etching

,!Que Viva México!: Reygadas as Documentarian, of Reygadas’s . and, in minor ways, his three other feature films. The avant-garde approach and documentary aesthetics converge to generate Reygadas’s critiques of class relations and sexual difference. Principally, the director’s preoccupation with sexual difference manifests itself in a sex-dream

Accommodation

hereditary

Silent-Ischemia

On-Screen and Off-Screen Flesh and Blood: Performance, Pornography, Spectatorship,f Marcos Hernández and Anapola Mushkadiz in Reygadas’s . (., 2005) and Roxane Mesquida’s challenging, if not traumatic, performance as Elena in Breillat’s . and its re-enactment in . (2002). The author brings together these three films, which have little in common, in order to draw attention to the

溫順

Endemic

Conclusion: Know Genre, No Trouble,praisal of Breillat’s . (2013). This film matters for Breillat’s . as she is able in it to articulate convincingly her critiques of patriarchy not just for young and middle-aged women. .’s late-middle-aged protagonist struggles with the same forces of misogyny as her younger counterparts in the dire

Bureaucracy