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New French Extremity (or New French Extremism) is a term coined by ''Artforum'' critic James Quandt for a collection of transgressive films by French directors at the turn of the 21st century.〔 Also available on (the ArtForum website ) (requires registration).〕 The filmmakers are also discussed by Jonathan Romney of ''The Independent''.〔 Quandt associates François Ozon, Gaspar Noé, Catherine Breillat, Bruno Dumont, Claire Denis' ''Trouble Every Day'' (2001), Patrice Chéreau's ''Intimacy'' (2001), Bertrand Bonello's ''The Pornographer'' (2001), Marina de Van's ''In My Skin'' (2002), Leos Carax's ''Pola X'' (1999), Philippe Grandrieux's ''Sombre'' (1998) and ''La vie nouvelle'' (2002), Jean-Claude Brisseau's ''Secret Things'' (2002), Jacques Nolot's ''La Chatte à deux têtes'' (2002), Virginie Despentes and Coralie Trinh Thi's ''Baise-moi'' (2000), and Alexandre Aja's ''Haute tension'' (2003) with the label.〔 While Quandt intended the term as pejorative, many so labeled have produced critically acclaimed work. David Fear indicates that the lack of humanity beneath the horror represented in these films leads to their stigma, arguing that Bruno Dumont's ''Flanders'' (2006) "contains enough savage violence and sexual ugliness" to remain vulnerable to the New French Extremity tag, but "a soul also lurks underneath the shocks".〔David Fear, ''Time Out New York''. Issue 607. May 17–23, 2007. () Access date: August 11, 2008.〕 Nick Wrigley indicates that Dumont was merely chastised for "letting everybody down" who expected him to be the heir to Robert Bresson.〔Nick Wrigley, "The Polarizing, Magnificent Cinema of Bruno Dumont". ''Masters of Cinema'', April 2004. () Access date: August 11, 2008.〕 Jonathan Romney also associates the label with Olivier Assayas' ''Demonlover'' (2002) and Christophe Honoré's ''Ma mère'' (2004).〔Jonathan Romney, ''The Independent'', September 12, 2004. () Access date: August 11, 2008.〕 Tim Palmer has also written about these films, describing them as constituting a "cinema of the body."〔Palmer, Tim "Style and Sensation in the Contemporary French Cinema of the Body", ''Journal of Film and Video'', Fall 2006 () Access date: 14 May 2010.〕 Palmer has argued that such films reflect a large scale stylistic trajectory, a kind of avant-garde among like-minded directors, from Catherine Breillat to François Ozon, along with contemporary figures such as Marina de Van, Claire Denis, Dumont, Gaspar Noé, and many others. Palmer situates this tendency within the complex eco-system of French cinema, underlining the conceptual diversity and artistic scope in French cinema today.〔Palmer, Tim (2011). ''Brutal Intimacy: Analyzing Contemporary French Cinema'', Wesleyan University Press, Middleton CT. ISBN 0-8195-6827-9.〕 ==History== Jonathan Romney traces a long line of (mainly French) painters and writers influencing these directors, beginning with the Marquis de Sade, and including Gustave Courbet's 1866 ''L'origine du monde'', Comte de Lautréamont, Antonin Artaud, Georges Bataille, William S. Burroughs, Michel Houellebecq, and Marie Darrieussecq.〔 He locates filmic predecessors in Luis Buñuel and Salvador Dalí, Roman Polanski, Jean-Luc Godard's ''Le weekend'', Andrzej Zulawski's ''Possession'', and Michael Haneke.〔 Quandt also alludes to Arthur Rimbaud, Buñuel, Henri-Georges Clouzot, Georges Franju, Michelangelo Antonioni, Pier Paolo Pasolini, Guy Debord, Walerian Borowczyk, Godard, ''Psycho'', Zulawski, ''Deliverance'', Jean Eustache's ''La maman et la putain'', and Maurice Pialat's ''A Nos Amours'' as models, but criticizes that the contemporary filmmakers so far lack the "power to shock an audience into consciousness". John Wray notes that some of these filmmakers show less affection for Hollywood films than their New Wave predecessors, and take after Jean Renoir as well as Bresson.〔 He also notes the long shots and enigmatic story-telling style of Dumont and the Dardenne brothers.〔 The expanded term "The New Extremism", referring to European filmmakers such as Lars von Trier, Lukas Moodysson, and Fatih Akın, has subsequently appeared.〔John Wray, "(Minister of Fear )", ''New York Times'', September 23, 2007. "... a new group of Francophone filmmakers has come to prominence in Europe, one less bedazzled by the Hollywood genre films that so influenced the New Wave directors than by the work of French auteurs like Jean Renoir and Robert Bresson. The Belgian-born Dardenne brothers, for example, favor dark, naturalistic studies of working-class life, while Bruno Dumont, a former professor of philosophy, makes violent and sexually explicit films that tend toward parable. But both share a preference for long, intricately composed shots, a resolutely anti-Hollywood aesthetic and a Bressonian aversion for spelling things out. Haneke feels at home in their company ..."〕〔Tanya Horeck, Tina Kendall, and Sarah Barrow, "The New Extremism: Contemporary European Cinema", conference held at Anglia Ruskin University, Cambridge, 24–25 April 2009, () Access date: August 23, 2008.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「New French Extremity」の詳細全文を読む スポンサード リンク
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