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Unlike new extreme films, new French horror emphasises gory violence, torture, and monstrous others. There is often an individual or a group who constitutes the violent monster against which the protagonists must struggle, with death and injury following the main characters until the end of the film when they either escape or are defeated by ...
In the 2000s, a movement of transgressive films in France known as "New French Extremity" has been described as an arthouse horror film movement. [ 6 ] Although commentators have suggested some horror films have exemplified qualities applicable to "art horror" for many decades, the term became more widely used during the 2010s, with independent ...
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Although Quandt coined the term New French Extremity, he quickly acknowledged this was a mistake, and most writing since (e.g. by Horeck & Kendall, Mattias Frey, Asbjørn Grønstad, and others see it as existing far beyond France (think of The Idiots, A Hole in my Heart, A Serbian Film, Taxidermia, etc.)
Metacinema, also meta-cinema, is a mode of filmmaking in which the film informs the audience that they are watching a work of fiction.Metacinema often references its own production, working against narrative conventions that aim to maintain the audience's suspension of disbelief. [1]
For example, after a long shot there may commonly be a cut to a closer view. If a character is walking across the stage, the audience expects the camera to pan or follow the character's movement. Viewers expect to interact with and be a part of the film, rather than simply being shown a group of images.
French-Greek coproduction [7] Oxygene: Alexandre Aja: Mélanie Laurent, Mathieu Amalric, Malik Zidi [8] Paris, 13th District: Jacques Audiard: Jehnny Beth, Noémie Merlant [9] Petite Maman: Céline Sciamma: Joséphine Sanz, Gabrielle Sanz, Stéphane Varupenne, Nina Meurisse [10] A Place Called Dignity: Matías Rojas Valencia
Film director and critic François Truffaut in 1965. Even before auteur theory, the director was considered the most important influence on a film. In Germany, an early film theorist, Walter Julius Bloem, explained that since filmmaking is an art geared toward popular culture, a film's immediate influence, the director, is viewed as the artist, whereas an earlier contributor, like the ...