READING THE RAZOR BLADE The Problematic Reception of Contemporary French Extreme Cinema MARTIN JOHN ANTHONY PARSONS Dissertation submitted to the University of Nottingham for the degree of Masters by Research in French September 2013 CONTENTS Abstract...................................................................................................................... 2 Acknowledgements.................................................................................................... 3 Introduction................................................................................................................ 4 Chapter 1: Friction...................................................................................................... 24 A Required Viewing Mode....................................................................................... 24 Friction..................................................................................................................... 28 A Statement of Intent: Carne................................................................................... 29 Whose Irresponsibility?: Seul contre tous................................................................ 36 Forwards, Backwards and Outwards: Irréversible……………………………………………… 40 Critical Mass……………………………………………………………………………………………………….. 44 Chapter 2: Collision..................................................................................................... 47 Subversion............................................................................................................... 47 Collision.................................................................................................................... 49 The Final Girl Killer: Haute tension.......................................................................... 50 The Anti-Road Movie: Twentynine Palms................................................................ 60 The Shock of the New.............................................................................................. 72 Chapter 3: Slicing........................................................................................................ 74 Censorship............................................................................................................... 74 Slicing....................................................................................................................... 78 Nadine et Manu Vont en Tuant : Baise-moi............................................................ 79 The Wisdom of the Ugly Ducking: À ma sœur !....................................................... 88 Final Cut................................................................................................................... 98 Conclusion.................................................................................................................. 101 Reading the Razor Blade…………………………………………………………………………………… 108 Limitations………………………………………………………………………………………………………… 109 On va où ?............................................................................................................... 110 Last Words.............................................................................................................. 113 Filmography............................................................................................................... 115 Bibliography............................................................................................................... 118 Appendices…………………………………………………………………………………………………………… 124 A1……………………………………………………………………………………………………………………… 124 A2…………………………………………………………………………………………………………………….. 125 A3…………………………………………………………………………………………………………………….. 128 A4……………………………………………………………………………………………………………………… 130 A5……………………………………………………………………………………………………………………… 131 A6……………………………………………………………………………………………………………………… 132 A7……………………………………………………………………………………………………………………… 133 A8……………………………………………………………………………………………………………………… 134 1 Abstract From the early 1990s onwards, a trend in French cinema took the body, especially the violated body, as the starting point of an engagement with the spectator which moved beyond the traditional ocular relationship between film and viewer and into a more physical mode. The reception of these films has been difficult, for a variety of reasons. In this dissertation we look at how this trend, herein described as Contemporary French Extreme Cinema, has been damaged by its critical reception, by its refusal to occupy understood cinematic spaces, and by censorship. The basis for the analysis herein rests in the phenomenological film analyses of Linda Williams, Vivian Sobchack and Laura Marks, through which we draw a new model for film spectatorship based on an awareness of genre and an understanding of the haptic rapport which these films engender. Analysis of this trend is complex, with a multitude of possible approaches, but this dissertation offers a series of suggestions which will hopefully assist in the navigation of such difficult territory. While it would be imprudent to claim to offer any firm conclusions on a trend that, we argue, might not yet be finished, this dissertation nonetheless suggests where the failures might lie, how these might be reclaimed, and how these films might have influenced French cinema as it stands today. 2 Acknowledgements There are a number of people without whom this dissertation would not have been possible. I would like to express my gratitude to my supervisors, Dr Lynsey Russell-Watts, Dr Renaud Olivero and Dr Jean-Xavier Ridon, for their friendship, guidance and patience. The French department at the University of Nottingham kindly funded both this Masters and a research trip to Paris. Special thanks go to Dr Nicki Hitchcott for her help throughout my academic career. My thanks also go to my colleagues from Charles V (Université de Paris VII) for their suggestions and shared wisdom, especially Dr Emilia Wilton-Godberfforde. The research for this dissertation was made immeasurably easier thanks to the helpful staff of the Bibliothèque du film at the Cinémathèque française. Finally, I want to thank my family for their love, support and proof-reading. 3 Introduction Despite the pioneering place of France in the history of world cinema,1 French cinema has seemingly always been marginalised in the global popular perception, with films which achieve mainstream popularity abroad apparent exceptions to the norm. The frequent limitation of French film releases to the arthouse circuit upholds this perception, attributing to them an air of pretention which the films themselves might not warrant. Lucy Mazdon holds that ‘what we perceive to be an “art” film or a “popular” film depends as much on the particular context of reception as upon the identity of the film itself’ (2001: 5). How films are perceived, especially upon first viewing, is an integral aspect of how we construct, relate to and theorise cinematic trends. On the reception of her films abroad, director Catherine Breillat, whose work is an important part of the phenomenon which we will study in this dissertation, noted ‘à l’étranger on qualifie souvent mes films de “french”, un adjective qui signifie intellectuel et un peu chiant’ (Best & Crowley 2007: 55). Responding to this assertion, Victoria Best and Martin Crowley add that ‘French cinema’ in common parlance can also function as a byword, ‘an ambivalent shorthand for sexually explicit films’ (2007: 55). Beyond this, there has long been a consideration of French literature as explicit and in some 1 Frenchman Louis Le Prince made the earliest known celluloid film recording with Roundhay Garden Scene (1888), while the pioneering Lumière brothers were responsible for the some of the earliest screenings where an audience paid to see the film, thus originating the cinema experience as we recognise it today. The Lumière’s film L’Arrivée d’un train en gare de La Ciotat (1896) apparently caused panic when originally screened (though the veracity of this claim is questioned by several film historians). It is pleasing, however, to imagine that French cinema has always inspired violent physical reactions. 4 way dangerous. Consider this line from the ‘Soliloquy of the Spanish Cloister’ by Robert Browning: Or, my scrofulous French novel, On grey paper with blunt type! Simply glance at it you grovel Hand and foot in Belial’s gripe; If I double down its pages At the woeful sixteenth print, When he gathers his greengages, Ope a sieve and slip it in’t? (Browning 1973: 425) The soliloquy is that of a Spanish monk who wishes ill upon one of his brothers, and believes that even the slightest contact with this ‘French novel’ would be enough to bring him to ruin. The idea that exposure to French literature can somehow contaminate is a potent one, and one which particularly affects the branch of French cinema which we will explore here. In the 1990s and 2000s, a trend manifested itself in French film: the use and exploitation of the body as a narrative device. This brought a new aspect to the categorisation of French film. Rather than being jokingly described as naughty, or pretentious, these films brought about an altogether stronger set of responses, described variously as ‘unsettling’ (Smith 2001), ‘pornographic’ (Bradshaw 2002) and ‘irresponsible’ (Mitchell 2003). This trend was first described in detail by James Quandt, who highlighted what he 5 perceived as an empty stylistic exercise in his article ‘Flesh and Blood’ (2004).2 Quandt cited an attempt by the directors involved to be ‘wilfully transgressive’ (2004: 127) as a unifying factor. I have previously tried to argue for an inclusive approach to these films, suggesting that together they can be seen as a movement, linked by a shared desire to push boundaries and instigate a new form of corporeal cinema (Parsons 2010). However, this is perhaps just as flawed a way of categorising these films as was Quandt’s all-encompassing attack. Director and screenwriter Marina de Van explained the problem that some of those involved in the trend have with the artificiality of this method: ‘on pioche un film ici, un film là, et on fait un mouvement complètement imaginaire en mettant en rapport les films qui n’ont rien à voir entre eux’.3 The first of many types of violence that we will explore in this dissertation, then, is the very act of forcing together films which are entirely separate. A better approach might be to accept that these films exist as separate entities, but to point towards a set of axioms which can be extrapolated from the entirety of the trend, an ethos which is perhaps unconsciously shared by the filmmakers and which can then be used as a way of discussing these films without forcing any shared philosophy upon them. This places the discussion outside of the trend, and thus avoids uncomfortable generalisation. These axioms comprise the attributes which I previously tried to apply to the films as a group. The first of these axioms is a new cinematic body. The body is brought into a new domain of cinematic being – it becomes an 2 Quandt was not the first to perceive the emerging prevalence of the body in contemporary French cinema, but his is the earliest comprehensive response to the phenomenon. 3 Personal interview conducted in Paris, 22nd September 2011. 6 integral part of the film, as important as, and indeed sometimes more important than, the narrative. The bodies of the actors, accordingly, are appropriated into this new being and become somehow dehumanised and digitised. In some cases this construction is more artificial than others – in replacing the lead actress of her film Anatomie de l’enfer (Catherine Breillat 2004) with a body double, Breillat noted (in a title card prefacing the film) that she is showing ‘la construction fictionnelle du corps de la fille’. This new position of the body, as essential to the film, leads us to the second axiom: physical violation. The body violated is a motif which perhaps defines the trend more than any other. The directors take the body and subject it to any number of intrusions, excisions, unnatural openings and closings. Even where direct violence is not involved (which is rare), the camera’s gaze steps in as the violating agent and offers ‘forbidden images’ (Quandt 2004: 129) in extreme close up. These images are orchestrated in such a manner as to intimate a particular closeness with reality. This caress of the fourth wall is our third axiom – simulated proximity. Even when at their most outlandish, these films strive to incorporate an enhanced sensory aspect which draws the spectator into the film. Best and Crowley have described the ‘defining vector’ of the work of writer/director Virginie Despentes, co-director of the film Baise-moi (Despentes & Coralie Trinh-Thi 2000), which we will examine in Chapter 3, as being ‘to produce a form of representation which would minimise its distance from the world represented’ (2007: 165). The diminishing of distance between film and spectator, and the rewriting of the film/spectator relationship this entails, is an integral aspect of the discussion of this trend, and one which will be elaborated on throughout this dissertation. 7 The final axiom might be described as a directly confrontational style. These films challenge the spectator, their audience, into accepting and understanding them. Herein lies one of the greatest problems of the trend – it resists facile appreciation and explanation. These axioms can thus be summed up in four points: a focus on the body as a cinematic tool, making it an integral part of the being of the film; an interest in violation of the body, whether by literally wounding it or by exploring it in uncomfortable detail; the minimisation of the divide between film and spectator; and the instigation of a complicated, potentially uncomfortable dialogue with the spectator. Film critic Mark Kermode once expressed his respect for extreme, challenging films which, as he termed it, ‘ride the razor blade’ (Kermode and Mayo 2010). This description is an apt one, containing as it does the comprehensible image of dangerous, uncertain behaviour and, more obviously, a suggested proximity of the sexual organs of the rider to a blade. This juxtaposition of sex and violence, or suggestion of sexual violence, perfectly conjures the idea of ‘brutal intimacy’ which Tim Palmer located within contemporary French cinema in his book of the same name (2011). The intention of this dissertation is to examine this ‘razor blade’, this uncomfortable space which, it will be argued, exists both within and around these films. The complicated, difficult to assimilate nature of the subject matter becomes a stigma which affects the reception of the films themselves, in some cases spilling out through them into debates which occur on a wider social and political canvas. 8 It is necessary to outline how I see the functioning of the razor blade within and upon these films. In the first place, in accordance with the films’ focus on the physical, we must posit a new, more physical mode of spectatorship, of spectator rapport with the film. This new mode is equally informed by Linda Williams’s proposal of ‘body genres’ (1991), those films which affect the spectator in a physical way (shudder for horror, laughter for comedy, for example), and Laura Marks’s description of haptic viewing, whereby the eyes of the spectator function like feeling sensory organs, grazing the skin of the film (2000). These viewing positions can be conflated with Martine Beugnet’s proposal of ‘cinema of sensation’ (2007) which, she suggests, are films which need to be felt as much as consciously understood. Beugnet makes particular reference to the importance of the films’ availability on DVD, with its pause function and the ability to rewind and rewatch, and it is clear that multiple viewings are important in the comprehension of this cinematic trend. Critical reception, however, is often based on a single viewing, perhaps at a film festival amongst crowds of people who will all be responding in different ways to the content of the film. This creates a difficult critical space for the films, bereft of the hindsight and careful analysis required to fully understand them. Consider British film critic Philip Bradshaw, who acknowledges that his opinions on Irréversible (Gaspar Noé 2002), while not necessarily unchanged with time, were a rash response to a film which hurt him: ‘I have to concede the possibility that I was just freaked out in precisely the way Noé intended’ (Bradshaw 2010). This hurt, this freaking out, it can be argued, arises from what we can describe as a failure of this new, contact-based mode of spectatorship: when the 9