{"id":1144,"date":"2016-03-04T16:29:48","date_gmt":"2016-03-04T16:29:48","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/arts-news\/?p=1144"},"modified":"2018-06-22T16:00:30","modified_gmt":"2018-06-22T15:00:30","slug":"dr-mattias-frey-publishes-new-book-on-extreme-cinema","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/arts-news\/2016\/03\/04\/dr-mattias-frey-publishes-new-book-on-extreme-cinema\/","title":{"rendered":"Dr Mattias Frey publishes new book on Extreme Cinema"},"content":{"rendered":"<div>\n<div class=\"ProductDescBookDetail\"><strong>Extreme Cinema<\/strong><\/div>\n<div class=\"ProductDescBookSubDetail\"><strong>The Transgressive Rhetoric of Today&#8217;s Art Film Culture<\/strong><\/div>\n<div class=\"ProductDescBookSubDetail\"><\/div>\n<div class=\"ProductDescBookSubDetail\"><\/div>\n<\/div>\n<div>\n<div>From <i>Shortbus<\/i> to <i>Shame<\/i> and from <i>Oldboy<\/i> to <i>Irreversible<\/i>, film festival premieres regularly make international headlines for their shockingly graphic depictions of sex and violence. Film critics and scholars alike often regard these movies as the work of visionary auteurs, hailing directors like Michael Haneke and Lars von Trier as heirs to a tradition of transgressive art. In this provocative new book, Mattias Frey offers a very different perspective on these films, exposing how they are also calculated products, designed to achieve global notoriety in a competitive marketplace.<\/div>\n<div>Paying close attention to the discourses employed by film critics, distributors, and filmmakers themselves, <i>Extreme Cinema<\/i> examines the various tightropes that must be walked when selling transgressive art films to discerning audiences, distinguishing them from generic horror, pornography, and Hollywood product while simultaneously hyping their salacious content. Deftly tracing the links between the local and the global, Frey also shows how the directors and distributors of extreme art house fare from both Europe and East Asia have significant incentives to exaggerate the exotic elements that would differentiate them from Anglo-American product.<\/div>\n<div><i>Extreme Cinema<\/i> also includes original interviews with the programmers of several leading international film festivals and with niche distributors and exhibitors, giving readers a revealing look at how these institutions enjoy a symbiotic relationship with the \u201ctaboo-breakers\u201d of art house cinema. Frey also demonstrates how these apparently transgressive films actually operate within a strict set of codes and conventions, carefully calibrated to perpetuate a media industry that fuels itself on provocation.<\/div>\n<div><\/div>\n<div><\/div>\n<\/div>\n<div>\n<div>&#8220;<i>Extreme Cinema<\/i> is an outstanding addition to the body of works that investigate the intersection of art cinema, sex, and violence and the intricate relationships among the three.&#8221;<\/div>\n<p>\u2014Cindy Hing-Yuk Wong, College of Staten Island, CUNY<\/p>\n<div>\u201cIn this lively, detailed analysis of \u2018taboo cinema,\u2019 Mattias Frey views \u2018extreme cinema\u2019 from an entirely new angle, offering rich insights into contemporary violence and cruelty on the screen.\u201d<\/div>\n<p>\u2014Wheeler Winston Dixon, author of Black and White Cinema: A Short History<\/p>\n<\/div>\n<div><\/div>\n<div><a href=\"http:\/\/rutgerspress.rutgers.edu\/product\/Extreme-Cinema,5905.aspx\">Order your copy today.<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Extreme Cinema The Transgressive Rhetoric of Today&#8217;s Art Film Culture From Shortbus to Shame and from Oldboy to Irreversible, film festival premieres regularly make international &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/arts-news\/2016\/03\/04\/dr-mattias-frey-publishes-new-book-on-extreme-cinema\/\">Read&nbsp;more<\/a><\/p>\n","protected":false},"author":39610,"featured_media":1145,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1123,118135,9112],"tags":[],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1144"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/users\/39610"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/comments?post=1144"}],"version-history":[{"count":2,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1144\/revisions"}],"predecessor-version":[{"id":1147,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/posts\/1144\/revisions\/1147"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/media\/1145"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/media?parent=1144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/categories?post=1144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/arts-news\/wp-json\/wp\/v2\/tags?post=1144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}