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008			260414s2020 nyu||||| |||| 00| 0 eng d
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040			_bspa _cBJBSDDR
041			_aeng
050			_bB833 2020
100	1		_aBreger, Claudia _947946
245	1	0	_aMaking worlds : _baffect and collectivity in contemporary European cinema / _cClaudia Breger
260			_aNew York : _bColumbia University Press, _c2020
300			_a336 pages : _billustrations ; _c23 cm
505			_aAffects in Configuration: Controversy and Conviviality in Fatih Akın's The Edge of Heaven and Asghar Farhadi's A Separation Critical Intensity: Jean-Luc Godard's and Rainer Werner Fassbinder's Defamiliarized Worldmaking Practices Genre. Or, Simple Stories? Affective Incisions in Akın's The Cut and Ari Kaurismäki's Refugee Trilogy Tenderly Cruel Realisms: Objectfull Assembly and the Horizon of a Shared World Epilogue: Reconfiguring Resistance
520			_aThe twenty-first century has seen an intensification of racial violence, religious chauvinism, class division, and the politics of hatred in the West. In Making Worlds, Claudia Breger argues that contemporary European art house cinema provides ways of thinking about and producing new types of collectivities in response to these political trends. In readings of key contemporary European films such as Michael Haneke's The White Ribbon, Aki Kaurismaki's Le Havre, and Inarritu's Biutiful, Breger examines the ways in which these films produce unexpected and frequently destabilizing affects that invite viewers to imagine new connections among individuals. These films and their depictions of refugees, immigrants, and communities do not simply counter dominant political imaginaries of hate and fear with positive alternatives. Instead, they produce new sensibilities, responses, and affects among viewers that allow them to see the world in new ways
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