B.A. (Toronto), M.A. (Brock), Ph.D. (Trent)
Thesis: Genre Trouble and Extreme Cinema
Examining Committee:
Davide Panagia (Supervisor), Veronica Hollinger, Ian McLachlan
External Examiner: Brian Price, University of Toronto
Internal Examiner: Elaine Stavro
Chair: David Holdsworth
Abstract
This dissertation re-evaluates theories of genre and spectatorship in light of a critic-defined tendency in recent art cinema, coined extreme cinema. It argues that the films of Mexican director Carlos Reygadas and French director Catherine Breillat expand our generic classifications and, through the re-organization of the visual presentation of genre-specific clichés and devices, their films transform sense experience and thought. My approach loosely follows Stanley Cavell’s various assertions of film as a medium of thought or, simply, that films think. Reygadas and Breillat allow spectators to reflect on the genre-film experience; I contend that their films make it apparent that genre is not established prior to the viewing of a work but is recollected and assembled by spectators in ways that matter for them. In fostering this experience of collection, these two directors propose a kind of ethics of curatorship: spectators are tasked with collecting and recollecting their film experience to generate particular social, cultural, and political critiques. To further accomplish and foster film as thought, the directors appeal to spectators’ sense experiences. I therefore deploy contemporary film theories on the senses, both phenomenological and affect theory, and partake in close readings of the films’ forms and narratives. The Introduction outlines my intervention in genre theory, discusses the key theoretical texts, develops the phenomenological framework I employ for the chapters to follow, develops my methodology through a description of Cavell’s style, and presents the stakes of my argument. Chapter one considers the place of experimental narrative cinema in Reygadas’s Post Tenebras Lux (2012). I argue that through his realist style, this film aims at an experience for spectators “as if” in a dream and through this film experience I posit the critique I find internal to the film. The second chapter turns to Catherine Breillat’s oeuvre and the confrontation her work poses to conceptions of pornography. I bring her 2001 feature Fat Girl (À ma soeur!) to bear on what I claim to be a new style of pornographic work and its challenge to patriarchy. The final chapter brings together Reygadas’s Battle in Heaven (Batalla en el cielo, 2005) and Breillat’s Sex is Comedy (2002) to accomplish an analysis of sexual performances in otherwise dramatic films.
After completing the PhD, Troy Bordun began part-time instructorships at Trent. As of Fall 2017, he is teaching a course in Sociology and actively searching for contract instructorships at other universities and other work such as minimum wage retail and food service.
Contact Troy Bordun
Publications
Genre Trouble and Extreme Cinema: Film Theory at the Fringes of Contemporary Art Cinema (Palgrave Macmillan, 2017)