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Media type:
E-Book
Title:
Resonant Bodies in Contemporary European Art Cinema
Contains:
Frontmatter
Contents
Figures
Acknowledgements
Introduction
Part I The Unlistenable
CHAPTER 1 The Body at Close Range: Volume and the Unlistenable in Catherine Breillat’s Anatomy of Hell
CHAPTER 2 Sonic Subjection: Gaspar Noé’s Irreversible and the Dystopian Limits of the Resonant Body
Part II Migratory Noise
CHAPTER 3 A Stranger Everywhere: The écho-monde of Tony Gatlif’s Exiles
CHAPTER 4 Feedback, Asynchronicity and Sonic Sociabilities: Arnaud des Pallières’s Adieu
Part III Nonhuman Noise
CHAPTER 5 Listening at the Limit: Nonhuman Noise in Lars von Trier’s Antichrist
CHAPTER 6 Listening to Things: Foley as ‘Alien Phenomenolog y’ and Peter Strickland’s Berberian Sound Studio
Conclusion
Filmography
Bibliography
Index
Description:
Provides the first consideration of sound and the body in contemporary European art cinemaOffers detailed analysis of the underexplored dimension of sound in the work of some of the best-known contemporary European art film directorsProvides a stimulating contribution to theories of cinematic spectatorship showing how sound, noise and listening can rethink all aspects of the filmic experienceExplores the conceptualisation of cinema as a resonant bodyConsiders the sonic dimensions of cinema alongside prescient current debates in European film and criticism about the body, migration and exile, as well as anthropocentrism and anthropocentric modes of representationWhat does it mean to exist, in our experience of cinema, according to listening? How do sound and ‘noise’ reconfigure relations between spectators and screens, and by extension, spectators and their worlds? How do films raise questions about the ethics and politics of listening to different bodies?Resonant Bodies in Contemporary European Art Cinema answers these questions through an analysis of films by Catherine Breillat, Gaspar Noé, Tony Gatlif, Arnaud des Pallières, Lars von Trier and Peter Strickland. These post-millennial European directors have worked with sound in ways that resist the full-definition and perfect hearing offered by Dolby technology. Instead, they have privileged ‘noise’ - sounds that take us to the limit of what we can hear - in a move that foregrounds the body on screen and constructs spectators as listening bodies