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The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

Space, sensation, and spectatorship in the films of Bruno Dumont
James S. Williams

2 Topographies of being: space, sensation, and spectatorship in the cinema of Bruno Dumont Space and being in contemporary French cinema Topographies of being: the films of Bruno Dumont When man becomes reconciled to nature, when space becomes a true background, these words and concepts will have lost their meaning and we will no longer have to use them. (M. Antonioni) [E]ven when I’m filming outside, I am only filming the inside. The film itself is the interior, from start to finish. That is why when I film a landscape, it is the character’s interiority. (B

in Space and being in contemporary French cinema
From L’Honneur de ma famille to Drôle de Félix
Carrie Tarr

the presence of second-generation immigrants of Maghrebi origin. L ’ Honneur de ma famille by Rachid Bouchareb is the only film directed by a beur filmmaker and represents the immigrant community and its internal conflicts from a beur perspective; La Vie de Jésus by Bruno Dumont and Karnaval by Thomas Vincent both focus on the dramatic impact of the presence of an attractive young male beur on the dominant white community; Sauvemoi by Christian

in Reframing difference
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Epstein as pioneer of corporeal cinema
Christophe Wall-Romana

/02/2013 17:10 conclusion  189 the importance of Epstein to them. For instance, Leos Carax recognizes Epstein’s movies as a major influence on his film aesthetics, and Philippe Grandrieux, like Deren, refers to his writings as a source of inspiration.2 In a recent interview about his film Hors Satan (2011), Bruno Dumont is asked whether he is influenced by Dreyer’s Ordet. He responds: Of course, I know the movie, but foremost I’ve had in mind the films of Jean Epstein with Breton peasants: L’Or des mers and Le Tempestaire. They display a kind of magical realism, shot with

in Jean Epstein
James S. Williams

7 In lieu of a conclusion Space and being in contemporary French cinema In lieu of a conclusion Only empty space can really hold the future in store. (R. Barthes) The arc we have traced in this study of spatial strategies and cinematic framing in contemporary French cinema is one of a progressive engagement with the external world. That is, from a closing up of the cinematic frame and closing off of geophysical space to an increasing opening up of the frame and an opening out to the world and the Other. Bruno Dumont’s cinema of devices, decoys and illusions

in Space and being in contemporary French cinema
Abstract only
Kate Ince

français into ‘two major trends’, one of which she calls the ‘French auteurs’ trend (the other is a ‘genre-oriented – and more masculine – cinema’ associated with a group of male directors) (Vincendeau 2005 : 34). She associates the ‘French auteurs’ trend with directors such as Xavier Beauvois, Arnaud Desplechin, Sandrine Veysset, Laetitia Masson and Bruno Dumont, and describes it as a cinema of ‘“small” auteur films

in Five directors
Abstract only
Carrie Tarr

je mens! (1997). Rachid Bouchareb’s 3B Productions (with Jean Bréhat) has produced films such as Bruno Dumont’s award-winning La Vie de Jésus (1997) and Humanité (1999) and Guerdjou’s Vivre au paradis (1999) alongside Bouchareb’s own films. One should also not underestimate the role of other cultural entrepreneurs of Maghrebi origin, such as Nacer Kettane at Radio Beur FM, and television presenter and filmmaker Yamina Benguigui, who

in Reframing difference
De battre mon coeur s’est arrêté, Sur mes lèvres and De rouille et d’os
Gemma King

, Claire Denis, Christophe Honoré and Bruno Dumont as genre-bending examples of embodied experience on screen. While le cinéma du corps is frequently presented as a horror trope, or used to describe extremely graphic images of transgressive sex, cannibalism or other violent (self-)harm, this chapter brings these scholars’ work, alongside that of Linda Williams ( 1991 ) and

in Jacques Audiard
Beth Johnson

traditionally slow for television and the bleak Yorkshire moors landscape is represented as a poetic character within the drama. At its première, writer Sean Conway noted Terrence Malick (writer and director of the multiple Academy Award-winning film The Tree of Life, 2011) and Bruno Dumont as influences on the show’s unique look. In particular, the Dumont reference seems fitting in terms of both the aesthetic focus on the environment and some of the more brutal sex scenes in Hit & Miss. Writing of Dumont’s work (in particular his 2003 film Twentynine Palms), theorist Tim

in Paul Abbott
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Maurice Pialat, the outsider
Marja Warehime

Cabréra, Bruno Dumont, Tony Gatlif, Robert Guédiguian, Manuel Poirier, Sandrine Veysset, Eric Zonca, among others) critical of French society, films made on small or limited budgets that focus on ordinary people (many played by nonprofessional actors) who are socially, culturally, geographically or economically marginalised (Beugnet 2003: 351). However, to the degree that Pialat explored his own private universe through his films, Warehime_01_ch1 7 12/21/05, 9:39 AM 8 maurice pialat gradually developing a very personal approach to filmmaking, he more closely

in Maurice Pialat