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008    150828s2015    stka    obq   001 0 eng d 
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049    RIDW 
050  4 PN1995.9.A8|bL83 2015eb 
072  7 PER004040|2bisacsh 
072  7 PER004030|2bisacsh 
072  7 PER|x009000|2bisacsh 
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100 1  Lübecker, Nikolaj d'Origny.|0https://id.loc.gov/
       authorities/names/nb2004007233 
245 14 The feel-bad film /|cNikolaj Lübecker. 
264  1 Edinburgh :|bEdinburgh University Press,|c2015. 
300    1 online resource (viii, 190 pages) :|bcolor 
       illustrations. 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
340    |gpolychrome|2rdacc 
347    data file|2rda 
380    Filmography 
490 1  Edinburgh studies in film and intermediality 
504    Includes bibliographical references (pages 176-182), 
       filmography (pages 183-185), and index. 
505 00 |gMachine generated contents note:|gch. 1|tAssault --
       |g1.1.|tInner Bastard: von Trier's Dogville --|g1.2.
       |tEthics Via the Body: Funny Games, Daisy Diamond and 
       Jacques Ranciere --|g1.3.|tGoing Too Far? De Palma's 
       Redacted --|gch. 2|tUnease --|g2.1.|tBuying a Bunch of 
       Radishes? Van Sant's Elephant --|g2.2.|tEthics of 
       Suspension: I Can't Sleep, Hidden and Judith Butler --
       |g2.3.|tEmbracing Childhood: Hadzihalilovic's Innocence 
       and Brakhage's Kindering --|tCoda: Ostlund's Play -- 
       Between Assault and Unease --|gch. 3|tTransgression, 
       Transgression --|tIntroduction: Third Generation Avant-
       Garde? --|g3.1.|tAvant-Garde as Tragedy: Dumont's 
       Twentynine Palms --|g3.2.|tDesperation Films: Code Blue, 
       In My Skin and Les Salauds --|g3.3.|tAvant-Garde as Farce?
       Korine's Trash Humpers --|tConclusion. 
520 8  In recent years some of the most innovative European and 
       American directors have made films that place the 
       spectator in a position of intense discomfort. 
       Systematically manipulating the viewer, sometimes by 
       withholding information, sometimes through shock or 
       seduction, these films have often been criticised as 
       amoral, nihilistic, politically irresponsible or anti-
       humanistic. But how are these unpleasurable viewing 
       experiences created? What do the directors believe they 
       can achieve via this 'feel-bad' experience? How can we 
       situate these films in intellectual history? And why 
       should we watch, study and teach feel-bad films? Answering
       these questions through the analysis of work by directors 
       such as Lars von Trier and Gus Van Sant, this book invites
       readers to consider cinematic art as an experimental 
       activity with ethical norms that are radically different 
       from the ones we would hope to find outside the movie 
       theatre. 
588 0  Print version record. 
590    eBooks on EBSCOhost|bEBSCO eBook Subscription Academic 
       Collection - North America 
650  0 Motion picture audiences|xPsychology.|0https://id.loc.gov/
       authorities/subjects/sh2010102462 
650  7 Motion picture audiences|xPsychology.|2fast|0https://
       id.worldcat.org/fast/1027120 
655  4 Electronic books. 
776 08 |iPrint version:|aLübecker, Nikolaj d'Origny.|tFeel-bad 
       film|z0748697993|w(OCoLC)898052075 
830  0 Edinburgh studies in film and intermediality.|0https://
       id.loc.gov/authorities/names/no2015082032 
856 40 |uhttps://rider.idm.oclc.org/login?url=http://
       search.ebscohost.com/login.aspx?direct=true&scope=site&
       db=nlebk&AN=1140037|zOnline eBook via EBSCO. Access 
       restricted to current Rider University students, faculty, 
       and staff. 
856 42 |3Instructions for reading/downloading the EBSCO version 
       of this eBook|uhttp://guides.rider.edu/ebooks/ebsco 
901    MARCIVE 20231220 
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       |lridw 
994    92|bRID