Download À la rencontre du cinéma français. Analyse, genre, histoire by Robert J. Berg PDF

By Robert J. Berg

À los angeles rencontre du cinéma français: examine, style, histoire is meant to function the center textbook in a wide selection of upper-level undergraduate and graduate French cinema classes. unlike content-, theme-, or issue-based ways to movie, Professor Berg stresses "the cinema­tic­ally particular, the warp and upholstery of the movie itself, the stuff of which it's made." adequate skillability in French is the only prerequisite: "No earlier back­ground in movie reports is thought, neither is any previous acquain­tance with French cinema. it is going to support, after all, to love video clips, and to have noticeable fairly a few..." (from the preface).

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Web-based research projects of varying scope and difficulty. An FAQ (foire aux questions) where the author answers questions sent by students and instructors. Of interest in courses that include a filmmaking project, class-produced très courts métrages (four minutes or less) in streaming video, with a forum devoted to discussion and critique. Each fall and spring semester the best film among those submittted, as judged by an independent panel, will receive the Janus du meilleur film (named after the god of doorways and beginnings).

En quoi tel film ou tel genre est-il le reflet d’un Zeitgeist, le lieu d’un conflit, l’instrument d’une idéologie? En quoi consiste l’expérience du spectateur? » Il n’estpas question, une fois définies ces diverses activités, d’imaginer entre elles des frontières étanches. Un discours peut en cacher un autre; aucun n’est pur. L’analyste ne saurait se passer d’une description de son objet, ni le critique, d’une théorie. Pour nous en convaincre il suffira d’un exemple quelconque, tiré au hasard de la presse généraliste.

Entrée en matière En février 1892 un certain Léon Bouly fit breveter sous le nom de cinématographe une caméra-projecteur de son invention. Le néologisme avait été formé des mots grecs kinêmatos (mouvement) et graphein (écrire). Si Bouly est relégué aujourd’hui aux oubliettes de l’histoire, c’est que son appareil « ne pouvait pas marcher et ne marcha jamais ». La citation est de Louis Lumière1, inventeur en 1894 d’une nouvelle caméra-projecteur qui réussit effectivement à écrire le mouvement. Chose curieuse: pour baptiser son appareil Lumière reprit le nom de cinématographe, marque déposée dont Bouly était propriétaire.

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