Pushing Cinema to its Limits: The New French Extremity
Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in Un Chien Andalou/An Andalusian Dog (Luis Buñuel and Salvador Dali 1929), to the darkly satirical Weekend (Jean-Luc Godard 1969), cinema in France has...
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This course will explore a recent phenomenon in French cinema, which has become known as ‘New French Extremity’. Arguably, the continuation of a tradition of artistic dissent in French culture, evident in literature, fine art and film, this moment in film history spans the 1990s through to the late 2000s, although certain more recent films have been associated with it too. The course will enable you to engage in some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.
The course will consider a number of films associated with the New French Extremity, ranging from an early example, C’est arrive pres de chez vous/Man Bites Dog (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), to later examples, such as Marina de Van’s Dans ma peau/In my Skin (2002 France).
What will we cover?
The course will consider the historical, cultural, social and political context for the ‘New French Extremity’ by looking at relevant antecedents in literature, art and cinema. It will explore a number of specific films in detail. These may include: C’est arrive pres de chez vous/Man Bites Dog (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), Romance (Catherine Breillat 1999 France), Irreversible (Gaspar Noe 2002 France) and Dans ma Peau/In my Skin (Marina de Van 2002 France).
What will I achieve? By the end of this course you should be able to...
Recognise and understand cinematic features associated with the ‘New French Extremism’
Be in a position to situate the ‘New French Extremism’ within a French historical, social, political and cultural context
Be able to articulate some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.
What level is the course and do I need any particular skills?
The course does not presuppose any film knowledge and is open to anyone with an interest in French cinema and film studies more generally. Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.
How will I be taught, and will there be any work outside the class?
The course will involve an informal lecture using PowerPoint slides as well as the screening of clips from films studied on the course. There will be frequent opportunities for class discussion. Work outside of the class is not required.
Are there any other costs? Is there anything I need to bring?
You should bring a device or a pen and paper to take notes, if you wish to. All clips from films shown during the class will be provided by the tutor.
When I've finished, what course can I do next?
Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.
Dr Jean-Baptiste de Vaulx has taught at Royal Holloway, University of London, and currently is an associate lecturer at University College London. His fields of teaching and research focus on world cinema, international film history, film festivals and cinephile film cultures. He has published articles and book chapters on varied topics including child characters in Iranian cinema, the theme of home in the films of Lucrecia Martel, the Japanese new wave director Hiroshi Teshigahara, and the history of world cinema programming on Channel Four.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
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https://www.citylit.ac.uk/pushing-cinema-to-its-limits-the-new-french-extremity2745125Pushing Cinema to its Limits: The New French Extremityhttps://www.citylit.ac.uk/media/catalog/category/exploring-european-cinema-hf382-1080.jpg6969GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Film studies/Introductory & general/Courses/Culture, history & humanities/Film studies22851177154815801228511771580<p>Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in <em>Un Chien Andalou</em>/<em>An Andalusian Dog</em> (Luis Buñuel and Salvador Dali 1929), to the darkly satirical <em>Weekend</em> (Jean-Luc Godard 1969), cinema in France has continued a long tradition of artistic and social dissent that can be traced back to the Marquis de Sade, the Comte de Lautréamont and Georges Bataille. In the late 1990s and early 2000s a series of films appeared in France that the critic James Quandt famously labelled the ‘New French Extremity’. This one-day course will explore some of these provocative films, directed by filmmakers such as Gaspar Noé, Virginie Despentes, Catherine Breillat and Marina de Van, among others. It will consider the historical, cultural, social and political context for this phenomenon and seek to examine a number of these films in detail.</p><p>Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p>002745053Pushing Cinema to its Limits: The New French Extremity6969https://www.citylit.ac.uk/media/catalog/category/exploring-european-cinema-hf382-1080.jpgInStockDaytimeSatKeeley StreetAvailable coursesOne-off onlyWeekend2026-06-27T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allJun 2026Culture, history & humanitiesHF2356969Pushing Cinema to its Limits: The New French Extremity554569Jean-Baptiste de Vaulxpushing-cinema-to-its-limits-the-new-french-extremity/hf235-2526<p>Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in <em>Un Chien Andalou</em>/<em>An Andalusian Dog</em> (Luis Buñuel and Salvador Dali 1929), to the darkly satirical <em>Weekend</em> (Jean-Luc Godard 1969), cinema in France has continued a long tradition of artistic and social dissent that can be traced back to the Marquis de Sade, the Comte de Lautréamont and Georges Bataille. In the late 1990s and early 2000s a series of films appeared in France that the critic James Quandt famously labelled the ‘New French Extremity’. This one-day course will explore some of these provocative films, directed by filmmakers such as Gaspar Noé, Virginie Despentes, Catherine Breillat and Marina de Van, among others. It will consider the historical, cultural, social and political context for this phenomenon and seek to examine a number of these films in detail.</p><p>Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p>0000-Available|2026-06-27 00:00:00<p>This course will explore a recent phenomenon in French cinema, which has become known as ‘New French Extremity’. Arguably, the continuation of a tradition of artistic dissent in French culture, evident in literature, fine art and film, this moment in film history spans the 1990s through to the late 2000s, although certain more recent films have been associated with it too. The course will enable you to engage in some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.</p><p>The course will consider a number of films associated with the New French Extremity, ranging from an early example, <em>C’est arrive pres de chez vous</em>/<em>Man Bites Dog</em> (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), to later examples, such as Marina de Van’s <em>Dans ma peau</em>/<em>In my Skin</em> (2002 France).</p><p>Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in <em>Un Chien Andalou</em>/<em>An Andalusian Dog</em> (Luis Buñuel and Salvador Dali 1929), to the darkly satirical <em>Weekend</em> (Jean-Luc Godard 1969), cinema in France has continued a long tradition of artistic and social dissent that can be traced back to the Marquis de Sade, the Comte de Lautréamont and Georges Bataille. In the late 1990s and early 2000s a series of films appeared in France that the critic James Quandt famously labelled the ‘New French Extremity’. This one-day course will explore some of these provocative films, directed by filmmakers such as Gaspar Noé, Virginie Despentes, Catherine Breillat and Marina de Van, among others. It will consider the historical, cultural, social and political context for this phenomenon and seek to examine a number of these films in detail.</p><p>Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p><p>The course will consider the historical, cultural, social and political context for the ‘New French Extremity’ by looking at relevant antecedents in literature, art and cinema. It will explore a number of specific films in detail. These may include: <em>C’est arrive pres de chez vous</em>/<em>Man Bites Dog</em> (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), <em>Romance</em> (Catherine Breillat 1999 France), <em>Irreversible</em> (Gaspar Noe 2002 France) and <em>Dans ma Peau</em>/<em>In my Skin</em> (Marina de Van 2002 France).</p><ul><li>Recognise and understand cinematic features associated with the ‘New French Extremism’</li><li>Be in a position to situate the ‘New French Extremism’ within a French historical, social, political and cultural context</li><li>Be able to articulate some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.</li></ul><p>The course does not presuppose any film knowledge and is open to anyone with an interest in French cinema and film studies more generally. Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p><p text-align:start="">The course will involve an informal lecture using PowerPoint slides as well as the screening of clips from films studied on the course. There will be frequent opportunities for class discussion. Work outside of the class is not required.</p><p>You should bring a device or a pen and paper to take notes, if you wish to. All clips from films shown during the class will be provided by the tutor.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalvirtual556945HF235NONESat27/06/2610:30 - 16:3010:3016:301 session1One-off onlyDaytimeWeekendKSKeeley StreetJean-Baptiste de VaulxBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-06-27T00:00:00+00:00Jun 2026Culture, history & humanities6969Pushing Cinema to its Limits: The New French Extremitypushing-cinema-to-its-limits-the-new-french-extremity/hf235-2526<p>Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in <em>Un Chien Andalou</em>/<em>An Andalusian Dog</em> (Luis Buñuel and Salvador Dali 1929), to the darkly satirical <em>Weekend</em> (Jean-Luc Godard 1969), cinema in France has continued a long tradition of artistic and social dissent that can be traced back to the Marquis de Sade, the Comte de Lautréamont and Georges Bataille. In the late 1990s and early 2000s a series of films appeared in France that the critic James Quandt famously labelled the ‘New French Extremity’. This one-day course will explore some of these provocative films, directed by filmmakers such as Gaspar Noé, Virginie Despentes, Catherine Breillat and Marina de Van, among others. It will consider the historical, cultural, social and political context for this phenomenon and seek to examine a number of these films in detail.</p><p>Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p>0000-Available|2026-06-27 00:00:00<p>This course will explore a recent phenomenon in French cinema, which has become known as ‘New French Extremity’. Arguably, the continuation of a tradition of artistic dissent in French culture, evident in literature, fine art and film, this moment in film history spans the 1990s through to the late 2000s, although certain more recent films have been associated with it too. The course will enable you to engage in some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.</p><p>The course will consider a number of films associated with the New French Extremity, ranging from an early example, <em>C’est arrive pres de chez vous</em>/<em>Man Bites Dog</em> (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), to later examples, such as Marina de Van’s <em>Dans ma peau</em>/<em>In my Skin</em> (2002 France).</p><p>Celebrated within international film culture and renowned for a willingness to experiment formally, French cinema has long sought to challenge and delight audiences, but it has also always pushed the boundaries of the permissible and the acceptable. From the violent eye-slice in <em>Un Chien Andalou</em>/<em>An Andalusian Dog</em> (Luis Buñuel and Salvador Dali 1929), to the darkly satirical <em>Weekend</em> (Jean-Luc Godard 1969), cinema in France has continued a long tradition of artistic and social dissent that can be traced back to the Marquis de Sade, the Comte de Lautréamont and Georges Bataille. In the late 1990s and early 2000s a series of films appeared in France that the critic James Quandt famously labelled the ‘New French Extremity’. This one-day course will explore some of these provocative films, directed by filmmakers such as Gaspar Noé, Virginie Despentes, Catherine Breillat and Marina de Van, among others. It will consider the historical, cultural, social and political context for this phenomenon and seek to examine a number of these films in detail.</p><p>Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p><p>The course will consider the historical, cultural, social and political context for the ‘New French Extremity’ by looking at relevant antecedents in literature, art and cinema. It will explore a number of specific films in detail. These may include: <em>C’est arrive pres de chez vous</em>/<em>Man Bites Dog</em> (Remy Belvaux, Andre Bonzel and Benoit Poelvoorde 1992 Belgium), <em>Romance</em> (Catherine Breillat 1999 France), <em>Irreversible</em> (Gaspar Noe 2002 France) and <em>Dans ma Peau</em>/<em>In my Skin</em> (Marina de Van 2002 France).</p><ul><li>Recognise and understand cinematic features associated with the ‘New French Extremism’</li><li>Be in a position to situate the ‘New French Extremism’ within a French historical, social, political and cultural context</li><li>Be able to articulate some of the key debates that have emerged around the ‘New French Extremism’, such as questions of obscenity, issues in relation to the representation of both sex and violence, and the exploration of female desire in cinema.</li></ul><p>The course does not presuppose any film knowledge and is open to anyone with an interest in French cinema and film studies more generally. Please note that some of the films studied on this course contain explicit sexual content and depict graphic violence. While care will be taken in the presentation of sequences from these films and in the discussions around them, please be aware that some of the material will be challenging and difficult.</p><p text-align:start="">The course will involve an informal lecture using PowerPoint slides as well as the screening of clips from films studied on the course. There will be frequent opportunities for class discussion. Work outside of the class is not required.</p><p>You should bring a device or a pen and paper to take notes, if you wish to. All clips from films shown during the class will be provided by the tutor.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk.</p>Film studiesIntroductory & generalconfigurable
15481580Introductory & generalhttps://www.citylit.ac.uk/courses/humanities/film-studies/introductory-general1/2/285/1177/1580/15481/Courses/Culture, history & humanities/Film studies/Introductory & general
