Abject desire: Anatomie de l'enfer and the unwatchable

Abstract

AbstractThis article argues that Catherine Breillat's recent Anatomie de l'enfer/Anatomy of Hell (2004) should be approached as a staunchly self-reflexive, humanist work which draws upon techniques of repulsion in order to generate new ways of seeing and of conceptualizing the body. Placing the film within the context of the new cinema of transgression, the author suggests that Breillat's chief objective is an enactment of the unwatchable that serves to liberate desire from its colonization by reductive forms of visuality such as pornography and spectacle.

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