Search results

You are looking at 51 - 60 of 98 items for :

  • disorientation x
  • Manchester Film Studies x
Clear All
Abstract only

de Baecque and Bouquet 1998, and Cravant 1998. 11 For more on this collaboration, see Frodon 1997. collaborations 147 estate in Villefranche-sur-Saône. Les Chemins de l’oued (2002) sends a young French beur to an Algeria consumed by conflict. The relentlessly homoerotic Le Clan (2004) again casts Stéphane Rideau as one of three emotionally disorientated brothers in Annecy living with their grieving (French) father and who have recently lost their (North African-born) mother. As in Les Voleurs, a multiple (tripartite) structure in terms of both narrative and

in André Téchiné
Abstract only
Distanciation and embodiment

shot of the mountains, and hear a gunshot. The film doesn’t acknowledge these dangerous situations by resolving them satisfactorily; we only learn that Momi and Luchi have escaped danger when we seem them crop up in an incidental fashion in later shots or scenes.10 The film also omits the usual means of constructing coherent spaces, meaning that the viewer is often disorientated in space. There are no estab­ lishing shots, for example of either La Mandrágora or of Tali’s house, and there are no transition shots to establish the spatial relationship between the finca

in The cinema of Lucrecia Martel

portraying all the places, forms, beings, thoughts, and most sinister objects of the French lower-middle classes’ (Bonitzer 1984 :105)). The sense of disorientation expressed by the characters and experienced by the viewer of a Blier film is compounded by the realisation that what we see before us should be wholly usual and untroubling. This collision between a familiar iconographical frame of reference and the artificiality of front

in Bertrand Blier
Abstract only
Space as story

both films the pair succeeds in taking control of the space, breaking the repetitive cycle and leaving the restrictive walls. Also characteristic of these films is a disrupted and disorientating reconstruction of space, not so evident in the ‘inheritance films’ . There are subtle spatial disconnections, illogicalities which cause protagonists and audience alike to lose their bearings: the inconsistent appearance of the

in Jacques Rivette
Abstract only
Representing people of Algerian heritage

) assertion that: The recesses of the domestic space become sites for history’s most intricate invasions. In that displacement, the borders between home and world become confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as divided as it is disorientating. Representing people of ­Algerian heritage 95 As here, it is in the home that the ‘unhomeliness … of extraterritorial and cross-cultural initiations’ (Bhabha 1994: 9) makes its presence felt. The quality of the video also adds a further sense of authenticity

in Representing ethnicity in contemporary French visual culture
Abstract only

’ai suivi carrément et fidèlement l’action de mes interprètes, et il me semble bien que le public n’a pas été désorienté’ (Frank, 1939 : 5). 11 Whereas the avant- garde French Impressionist filmmakers were not concerned by such possible disorientation and were aiming at an elite audience, Carné’s attempt to integrate this innovative device in a mainstream narrative film highlights a key aspect of his filmmaking, his

in Marcel Carné
genre in Franju’s longs métrages

this group of films are the product of that which is abnormal and dissonant. And the dissonances, the sense of disorientation and unease, while frequently present at the level of plot and thematic development are, more importantly perhaps, always a function of the visual style of this group of films. (Harvey 1978 : 35) Since the term film

in Georges Franju
Abstract only

, often presented with dissolves between, emphasised the separate and dislocated nature of each view. In fact, there was considerable anxiety about the possibility of confusion or disorientation occurring if images were to follow each other without interruption. When it came to presenting a programme of moving pictures, it was equally important to avoid any confusion, so a reel would be made up by joining several ‘Views’, as

in Film editing: history, theory and practice

. This disorientation is reinforced with the next cut, a repeat of the first, in which Ben raises his head and looks off to camera right – upstream – as it were. The intention is quite clear – Ben is watching the children. A return to the shot of the children shows them crouching to the left of the path and covering their heads with the sheet; four black children follow up the path and stop on seeing the ghostly, sheeted mound

in Film editing: history, theory and practice

screen of branches through which it is seen, gives the disorientating impression of taking off even as it is landing (Bergala 1999 : 93). For Godard, this energy that, for Weil, is associated with grace, is manifested first and foremost in the form of light . Jean Douchet has noted, in Passion , but already in Alphaville (1965), the importance of light as a kind of pure energy, ‘dont la seule raison d’être est d’être de

in Jean-Luc Godard