Abstract
This paper situates Éric Gravel’s 2021 feature film À plein temps at a hinge point between the “cinema of precarity” and something new. Building on Lauren Berlant’s (2022) conceptualisation of inconvenience, I argue that the film’s depiction of strike action as inconvenient is precisely what allows it to portray and comment on an emergent post-neoliberal structure of feeling in France and beyond.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callSimilar Papers
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
