... Azalbert Nicolas Faye Jean Pierre Brinkema Eugenie Mungiu Christian Braad Thomsen Christian Dogma Eggleston William Grotowski Jerzy Vinterberg Thomas Verhoeven Paul avant-garde new extremism Bruno Dumont nihilism Harmony Korine feel-bad film spectatorship ethics Claire Denis Lars von...

...The Islamic State in Iraq and al-Shām (ISIS) has often been cast as the nemesis of the contemporary international system – an actor deliberately so extreme and hostile to international (liberal) norms that it stands completely outside the field of their enactment. This chapter presents a different...

... of radicalisation in counter-terrorism, particularly in two different cases of Prevent Tragedies and the blind spot towards white extremism in the US. ‘Black Identity Extremism’ BIE Critical Terrorism Studies CTS International Relations Jackson Richard D rationality Western Enlightenment duality masculinity...

... to ethnonationalist, in times of setbacks, global rise of nationalist populism and persistence of violent extremism. Their findings impact and contribute to democratic transition, ending civil wars, peacebuilding, countering violent extremism, counterinsurgency and counterterrorism....

...This chapter looks at Bruno Dumont's reworking of the American road movie, Twentynine Palms (France, 2003). It identifies and explores one of the key aspects of a European cinema of new extremism — the manipulation of popular genre and generic motifs in a high art, philosophical...

...X-rated in its home country and censored throughout the world for its graphic sex and violence, Baise-moi (France, 2000), Virginie Despentes's notorious first feature, is a highly controversial example of the new extremism in French cinema. Co-written and co-directed with porn...

...This chapter explores what the idea of a new European extremism might mean in the context of contemporary filmmaking in Britain by addressing the work of Andrea Arnold. While Arnold's work is seen to sit somewhere between British social realism and European art cinema, this chapter looks at how her...

...Chapter one establishes and justifies the link between a compelling tendency towards extremes in violence erupting out of the everyday in recent European cinema. It argues that while it is the nature of the everyday to be a kind of backdrop – taken for granted, imperceptible, and uneventful...

...Extreme violence in contemporary European art cinema is generally interpreted for its affective potential, but what about the significance of the everyday that so often frames and forms the majority of these films? Why do the sudden moments of violence that punctuate films like Catherine Breillat’s...

...Disruption and rowdyism at political meetingswas a feature of Victorian and Edwardian electioneering. The advent of mass democracy, and the rise of Communism in Europe, ensured that such behaviour came to be portrayed as evidence of political extremism and a threat to political stability...

... the relationship between the people and parliament was understood. The means by which politics was conducted duly changed: popular traditions of public involvement in politics came to be tarnished by association with political extremism in general, and Communism in particular. This occasioned a change in relations...

... to consider the impact of Bataille on the corpus of the new extremism. It reflects upon the problematic place of Bataille in the explicit sex formula of recent ‘hard core’ international art cinema. Of particular interest in this regard is Honoré's decision to re-imagine the backdrop against which Bataille's...

... the subjectivity of the non-human. The shadows of being in Sombre refer to non-human construction of an ethics of humanity at the heart of Sombre, and of many of the contemporary cinematic works that are in the process of being collectively annotated as ‘the new extremism...

...This chapter offers a slightly different take on Ulrich Seidl by focusing on the tension between documentary and fiction in his work and reflecting more broadly on the status of the ‘real’ in the cinema of the new extremism. Considering how reality is deployed in the films of the new extreme...

...This chapter examines the changing attitudes of the British Board of Film Classification (BBFC) towards film censorship since the 1990s, focusing on how it dealt with the cinema of the new extremism. By looking at the BBFC's response to Gaspar Noé's Seul contre tous (France, 1998...

...This chapter focuses on a filmmaker from Sweden who may not have received as much analytical attention as other directors of the new extremism but whose work is nonetheless key to an understanding of a wider European turn towards the extreme: Lukas Moodysson. It examines the reception...

... and abuse: Erika's rape in The Piano Teacher and the doctor's sexual abuse of his fourteen-year-old daughter in The White Ribbon. This focus highlights an essential element in the violence of new extremism and, as this chapter argues, an essential feature of Haneke's...

..., it calls on all of us to become dissenters ourselves in order to challenge authoritarianism and counter the growth of prejudice, bigotry, and extremism in public life....

...’, creating an intimate relation with the film, as we are called upon to listen to the body on screen. Breillat Catherine close ups gender unlistenable the volume Grønstad Asbjørn New French Extremism violence Coulthard Lisa ear the haptic film theory Lübecker Nikolaj noise Grandrieux Philippe...