For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral
For Elena del Río, extreme cinema is not only qualitatively different from the representations of violence we encounter in popular, mainstream cinema; it also constitutes a critique of the socio-moral
This book offers a unique reconsideration of the performing body that privileges the notion of affective force over the notion of visual form at the centre of former theories of spectacle and performa
The performing body privileges the notion of affective force over the notion of visual form, and Elena del R?o places this at the center of theories of spectacle and performativity. Drawing on Gilles
