New CINEPHILE 8.2 on Contemporary Extremism

Screenshot from 올드보이/Oldboy (Park Chan-wook, 2003)

What happens to the specificity of the films of the new European extremism and their self-conscious address to the spectator when the category of extremism is opened up, and takes on global dimensions? To what extent is it useful or important to retain this label of a “new extremism” in cinema across these disparate contexts? And how do we account for the many-faceted contexts in which this idea of extreme cinema manifests itself? [Tanya Horeck and Tina Kendall, 'The New Extremisms: Rethinking Extreme Cinema', CINEPHILE 8.2, 2012 - clicking on this link downloads a large PDF]

Film Studies For Free has just found that the latest issue of one of its favourite journals has just gone online: a special issue on Contemporary Extremism of the Canadian film journal CINEPHILE (8.2, 2012). Here is a link to the archive where you can find the issue. The extremely excellent contents are listed below.

Preface: 'The New Extremisms: Rethinking Extreme Cinema' by Tanya Horeck and Tina Kendall

Articles

• 'Rites of Passing: Conceptual Nihilism in Jean-Paul Civeyrac’s Des filles en noir' by Tim Palmer
• 'Subject Slaughter' by Kiva Reardon
• 'Sacrificing the Real: Early 20th Century Theatrics and the New Extremism in Cinema' by Andrea Butler
• 'Cinematography and Sensorial Assault in Gaspar Noé’s Irreversible' by Timothy Nicodem
• 'Infecting Images: The Aesthetics of Movement in Rammbock' by Peter Schuck
• 'The Quiet Revulsion: Québécois New Extremism in 7 Days' by Dave Alexander

Report

• 'Extreme Vancouver' by Chelsea Birks and Dana Keller

LARGE PDF of whole issue