By Martine Beugnet
“Cinema and Sensation is a strong account of the cinema of our time, a time within which notion, and desire, can merely come up from a compassionate and unflinching immersion actually. With a wonderful cognizance to special new works of French cinema, this e-book restores cinema’s traits of being, and changing into, within the world.”
—Laura U. Marks, tuition for the modern Arts, Simon Fraser University
“Starting with a desirable checklist of contemporary Francophone motion pictures, Beugnet brings Deleuzian and different French thought, in addition to references to fresh Anglophone analyses of sensation, to endure on how this cinema creates ‘deeply sensual, synaesthetic effect[s] of the movie photo and sound-track.’ This publication presents an invaluable method of this workforce of flicks, in addition to a skillful summation of a pattern in contemporary theory.”
—Maureen Turim, professor of English and picture and media experiences, college of Florida
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Extra info for Cinema and Sensation: French Film and the Art of Transgression
However, they foresaw that cinema would encounter and was already encountering all the ambiguities of the other arts; that it would be overlaid with experimental abstractions, 2 Exemplified by the work of Viking Eggeling, Hans Richter, Walter Ruttman and Oskar Fischinger amongst others. 24 ‘formalist antics’ and commercial configurations of sex and blood. The shock would be confused, in bad cinema, with the figurative violence of the represented instead of achieving that other violence of a movement-image developing its vibrations in a moving sequence which embeds itself within us.
The power of the cinema thus rested with ‘purely visual sensations’ (Artaud’s writings correspond, of course, to the end of the era of the silent movie), ‘the dramatic force of ‘ ’ 23 which springs from a shock on the eyes, drawn, one might say, from the very substance of the eye, and not from psychological circumlocutions of a discursive nature which are nothing but visual interpretations of a text’ (Artaud  1972: 20). 2 Crucially, if he rejects it as a formal a priori, Artaud does not rule out abstraction as part of the actual imaging process; the following description of the movement and mutations in/of the images suggests that the frontier between the figurative and the abstract remains fluid.
Though not amongst the works discussed in Quandt’s article, for instance, C. S. Leigh’s Process, released in 2004 and starring Béatrice Dalle and Guillaume Depardieu, seems a point in case. An exercise in visual and thematic citation, it chronicles a woman’s journey of self-destruction through a series of mannered mise en scènes inspired by performance art. In a radically diﬀerent style, Gaspar Noé’s Irréversible arguably harnesses an absence of substance to a display of technical virtuosity. Although he denounces the opportunistic tendency of the critic to create convenient new categories and designations, the author nevertheless follows suit.