La règle du jeu
Games and play
in Jacques Rivette
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

From his beginnings, Jacques Rivette's cinematic representation of life is presented as a jeu, but the rigid, predictable laws of chess are a long way from the connotations which govern Out 1. In Rivette's cinema from Le Coup du berger onwards, 'play' and 'games' are among other things a vehicle for this tension in his narratives between the wish for structure, sense and context. A theoretical analyses of the notion of jeu was that carried out by Roger Caillois and published as Les Jeux et les hommes in 1958. Haut bas fragile is another film which promises to make of an organised game a central factor in an ominous plot. Between play and the play, Rivette's theatre seeks to explore areas accessible only in the 'sacred space' of the performance, and to establish a laboratory, where the work of creation of the cinema can be prepared.

Metrics

All Time Past Year Past 30 Days
Abstract Views 45 26 0
Full Text Views 16 2 0
PDF Downloads 5 4 2