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Cinema and Sensation

French Film and the Art of Transgression

Martine Beugnet

Paperback (Out of stock)
£24.99

Contents

1. Beginnings
2. A 'Third Path'
3. The Aesthetics of Sensation
4. Film Bodies (Becomings and Embodiment)
Epilogue.

About the Author

Martine Beugnet is Professor in Visual Studies at Paris 7 Diderot.

Reviews

This exciting work by film scholar Martine Beugnet makes an important contribution to contemporary debates on the materiality and affective potential of cinema.
- Carrie Tarr, Kingston University, Modern and Contemporary France
It is a testament to her incisive and highly eloquent prose that her core argument is never obscured by dense theorising or hijacked by all-too obvious straining for academic profundity... those who still remain inured to (or unconvinced by) Deluzean film analysis would do well to dip into this book, so lucidly does it present complex arguments.
- Ben McCann, University of Adelaide, Screening the Past
Beugnet's book offers a compelling example of how film criticism can operate at the junction between perception and understanding, between embodied response and critical reflection... In its articulation of connections between sensation and transgression, and in its linking of film's affective powers to the urgency of political contexts, Cinema and Sensation presents a rich and timely assessment of contemporary French film's engagementwith the senses.
- Laura McMahon, Girton College, Cambridge, The Senses and Society
Cinema and Sensation achieves a seamless intermingling of theoretical enquiry and film analysis, allowing film and theory to shape and inflect each other... Beugnet is an unflinching viewer, and her boldness, combined with her evident pleasure in the works she discusses, makes for much of the exhilaration of the volume. Cinema and Sensation offers new and elastic contact with French cinema, as it also awakens new thought through the senses.
- Emma Wilson, Screen
Cinema and Sensation persuasively argues that the radical styles of recent French films merit new theories and approaches.
- Hunter Vaughan, Film Quarterly

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