Philippe Grandrieux: Sonic Cinema

by Greg Hainge

Overview

Philippe Grandrieux is one of cinema's only living true radicals and feted as one of the most innovative and important film makers of his generation. His consistently controversial work remains, however, relatively unknown outside of the international art film festival circuit. In this volume, the first book-length study of the work of Grandrieux in any language, Greg Hainge provides an overview and critical analysis of Grandrieux's entire career during which he has produced works for television, video installations, photography, performance pieces, documentary films, short films and prize-winning feature films. As well as providing an overview, the book argues that a critical appraisal of his work necessarily leads us to problematize many of the critical orthodoxies that have been formed in recent times, to reject the concept of a haptic cinema and to supplant this instead with the idea of a sonic cinema.

Product Details

ISBN-13:	9781628923155
Publisher:	Bloomsbury Publishing
Publication date:	02/23/2017
Series:	Ex:Centrics
Sold by:	Barnes & Noble
Format:	eBook
Pages:	312
File size:	3 MB

About the Author

Greg Hainge is Reader in French at the University of Queensland, Australia. He is the author of Noise Matters: Towards an Ontology of Noise (Bloomsbury 2013), a monograph on Céline and numerous articles on music, cinema, philosophy and literature. He is Editor-in-Chief of Culture Theory and Critique and serves on the editorial boards of Studies in French Cinema, Contemporary French Civilization, Etudes Céliniennes and Corps.
Greg Hainge is Reader in French and Head of the School of Languages and Comparative Cultural Studies at the University of Queensland, Australia. He is the author of Capitalism and Schizophrenia in the Later Novels of Louis-Ferdinand Céline and has published widely on cinema, music, critical theory and French literature.

Table of Contents

List of Illustrations
Acknowledgements
Introduction
Chapter 1. In the Beginning.
Chapter 2. The Television Years.
Chapter 3. Long-Form Documentaries.
Chapter 4. Intermezzo.
Chapter 5. Sombre (1998).
Chapter 6. La Vie nouvelle [A New Life] (2002).
Chapter 7. The Turn to Nature.
Chapter 8. Un lac [A Lake] (2008).
Chapter 9. Recent Works.
Conclusion
Afterword - Sonic Cinema
References

Editorial Reviews

This book offers the very first comprehensive study of a major contemporary filmmaker and artist. From Grandrieux's work as a producer to the deepest challenges posed by his films and installations, the study conducted by Greg Hainge illuminates the consistency and magnitude of an exceptional artistic career, organically structured by experimental values.” —Nicole Brenez, Professor, Paris 3 Sorbonne nouvelle University, France

“Deploying a vocabulary derived from sonic principles, and in dialogue with questions about aesthetic logics of sensation, Greg Hainge reveals the Philippe Grandrieux of choreography, improvisation, dynamic contrast, rhythm, force, cacophony, all that is intensely immersive and (thereby) inventive. Hainge's exploration takes the form of an abyssal unfolding-of Grandrieux's corpus, extending from film through television, video, photography, installation and critical reflection; of the speculative potential of film-theoretical concepts derived from the sonic in place of the haptic or visual; of the inventive and political possibilities of (all) cinemas of cruelty; and of the new conceptual lives enabled by the promise of closely reading for form.” —Eugenie Brinkema, Author of The Forms of the Affects (2014) and Associate Professor of Contemporary Literature and Media, Massachusetts Institute of Technology, USA

“Philippe Grandrieux is one of the very rare truly innovative filmakers who has appeared in french cinema since Chantal Akerman and Philippe Garrel. Altogether powerfully visual, haptic and sonic, his images excel to express all possible states of the body, from the most extremes to the most daily. Here is what shows at the best the book of Greg Hainge, stressing particularly the sonic dimension which allows him to harmonize all the components of a cinema of the Figure, in the sense that Gilles Deleuze has given to this word through the painting of Francis Bacon.” —Raymond Bellour, co-editor of Trafic, revue de cinema and Director of Research Emeritus, Centre National de la Recherche Scientifique, Paris, France

From the Publisher