This thesis investigates the aesthetics of transgression in New Extremism cinema for the ways in which they inform, and are mutually informed by, neoliberal affect and social politics. Although negative affect and spectatorial embodiment are often central to critical discourse on New Extremism, this thesis instead attends to the interlocking aesthetic, narrative, and spatio-temporal expressions of affect as they correlate with neoliberal politics of respectability and reproduction. By deploying feminism and queer theory, this thesis locates positive, productive potentials within formal expressions of negative affect that mobilize a political critique of the violences within each film. In so doing, the selected film examples--Fabrice Du Welz's Calvaire (2004), Marina de Van's Dans ma peu (2002), Olivier Assayas's Demonlover (2002), Bruno Dumont's Twentynine Palms (2004), François Ozon's Criminal Lovers (2001), Alain Guiraudie's Stranger by the Lake (2014), to name a few--portray the shifting relations between politics, gender, and sexuality in the neoliberal present and offer critical alternatives for how such developments have impacted and impeded sociality.
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