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@article{ART002031705},
author={Choi Sooim},
title={Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin},
journal={Cross-Cultural Studies},
issn={1598-0685},
year={2015},
volume={40},
pages={185-212},
doi={10.21049/ccs.2015.40..185}

TY - JOUR
AU - Choi Sooim
TI - Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin
JO - Cross-Cultural Studies
PY - 2015
VL - 40
IS - null
PB - Center for Cross Culture Studies
SP - 185
EP - 212
SN - 1598-0685
AB - Bruno Dumont’s film P’tit Quinquin (2014) trends toward ‘the new extremism’ in contemporary European cinema. This criminal-mystery-comedy film achieves the cinematic recognition of reality in the new extremist way: like typical new extremist films, P’tit Quinquin contains a lot of ‘unwatchable’ content, including disembodied parts of human body, carcasses, and the body of a boy who has killed himself. The reality, however, remains confidently invisible, despite everything that is visible within the film. In understanding Dumont’s attempt to reach cinematic recognition, the relationship between ‘the visible’ and ‘the invisible’ is reconsidered. In the context of the film, the relationship between cinema and reality becomes indirect. The reality can be only felt, not seen. The invisible reality can be perceived only as a void, just like the criminal who is unknown even though he is sought after. To reveal this void, the film strives to give its viewers as much explicitly visible content as possible during its 200-minute run. This essay is an interdisciplinary attempt to examine the working and the effects of this cinematic attempt by Bruno Dumont; aspects of film theory, visual anthropology, (inter-)mediology, posthumanism in cultural theory, etc., are related for this purpose.
KW - Invisible/unwatchable;Bruno Dumont;P’tit Quinquin;Cinema;Reality;The New Extremism;The New French Extremity;Antimärchen/Anti-tales
DO - 10.21049/ccs.2015.40..185
ER -

Choi Sooim. (2015). Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin. Cross-Cultural Studies, 40, 185-212.

Choi Sooim. 2015, "Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin", Cross-Cultural Studies, vol.40, pp.185-212. Available from: doi:10.21049/ccs.2015.40..185

Choi Sooim "Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin" Cross-Cultural Studies 40 pp.185-212 (2015) : 185.

Choi Sooim. Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin. 2015; 40 185-212. Available from: doi:10.21049/ccs.2015.40..185

Choi Sooim. "Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin" Cross-Cultural Studies 40(2015) : 185-212.doi: 10.21049/ccs.2015.40..185

Choi Sooim. Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin. Cross-Cultural Studies, 40, 185-212. doi: 10.21049/ccs.2015.40..185

Choi Sooim. Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin. Cross-Cultural Studies. 2015; 40 185-212. doi: 10.21049/ccs.2015.40..185

Choi Sooim. Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin. 2015; 40 185-212. Available from: doi:10.21049/ccs.2015.40..185

Choi Sooim. "Bruno Dumont’s Cinematic World Seen from the Perspective of The New Extremism: Focusing on P’tit Quinquin" Cross-Cultural Studies 40(2015) : 185-212.doi: 10.21049/ccs.2015.40..185