Overview

How is crime represented in art cinema? And how can this be understood in the context of global sociopolitical and film-industrial trends? Crime might be shown or lurk only at the edges. It might be left unresolved or unexplained. Arthouse crimes can be petty and small scale or raise big questions associated with the arthouse sector: political issues, the nature of humanity, truth and knowability. Arthouse Crime Scenes is the first book to address the relationship between art cinema and crime, contributing to the study of both categories. Case studies are provided of works by celebrated filmmakers including Lucretia Martell, Kleber Mendonça Filho, Bong Joon Ho, Nuri Bilge Ceylan, Hirokazu Kore-eda, Jia Zhangke, Andrey Zvyagintsez and Lee Chang-dong. Textual analysis is combined with focus on social and industrial contexts. A recurring theme is the situation of arthouse crime films within differing manifestations of broader processes of late-modern neoliberal globalization and cultural hybridity. Approaches examined range from the oblique to social realism and other mixtures of crime and arthouse tendencies.

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Reviews

Arthouse Crime Scenes is an intelligently crafted exploration of the terrain that unfolds when films variously categorized as ‘arthouse’ collide (or not) with the generic conventions of crime, and how that landscape is both illuminated and weathered by the forces of late capitalism. * Richard Langley, Associate Professor in Film, Birmingham University, UK * An ambitiously diverse survey, roaming the globe to turn a critical spotlight on international crime cinema, the darkest and most fascinating corners of world filmmaking. Essential reading for those interested in genre, art cinema's cross-overs with popular culture, and how film noir's legacy shapes some of our leading auteurs today. * Tim Palmer, Professor of Film Studies, University of North Carolina Wilmington, USA *

Arthouse Crime Scenes is an intelligently crafted exploration of the terrain that unfolds when films variously categorized as ‘arthouse’ collide (or not) with the generic conventions of crime, and how that landscape is both illuminated and weathered by the forces of late capitalism. * Richard Langley, Lecturer in Film, Birmingham University, UK *

Author Information

Geoff King is Emeritus Professor of Film Studies at Brunel University London, UK, and author of numerous books, including The Cinema of Discomfort: Disquieting, Awkward and Uncomfortable Experiences in Contemporary Art and Indie Film (Bloomsbury, 2021), Positioning Art Cinema: Film and Cultural Value (Bloomsbury, 2019) and Quality Hollywood: Markers of Distinction in Contemporary Studio Film (Bloomsbury, 2015)

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