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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.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

James S. Williams

mapping its critical boundaries and lieux communs, the more the horizon of fixed or unifying knowledge withdraws. Cinematographic space above all, in its many different forms and guises (screenspace, landscape, diegetic space, soundscape, spectatorial space, etc.), is fluid and contingent, liminal and protean. Those films that work most the rich spatiotemporal seams of the cinematic field and extend the parameters of the frame are precisely those that most engage with – and enter into – cinematic space as an organic, multi-dimensional and multi-sensory experience, so

in Space and being in contemporary French cinema
James S. Williams

lenses and film stock. The always magical process whereby real physical space (the setting) is reborn as fictional, two-dimensional cinematic space generates a panorama of spatial forms defined by differences in size, depth, design, angle, proximity, density, colour, contrast and proportion. In his seminal 1982 study of sentiment and affect in the cinema, which examines in detail the emotional implications of different effects and processes, Charles Affron presented a rich typology of screenspaces and spatial codes, from deep space and camera movement to spatial locus

in Space and being in contemporary French cinema
The case for practice theory
Matthew Hanchard

comprehensive landmark text arguably remaining Rethinking Maps (Dodge, Kitchin and Perkins, 2009a). This extends the initial impetus of critical cartography, to draw together a dispersed set of contemporary theoretical strands, summarised in ‘a manifesto for map studies for the coming decade’ (Dodge, Perkins, and Kitchin, 2009b: 220). The authors assert contemporary cartographic theory should attend to five key lines of inquiry – which crosscut and intersect. These five key lines of inquiry are as follows: first, the interfaces encountered, akin to screen-spaces. Second, a

in Time for mapping
Open Access (free)
An allegory of imperial rapport
Deirdre Gilfedder

-shots punctuating the film. In the scenes filmed in the Harley Street rooms, the two characters are juxtaposed and given equal screen-space. In the Regent’s Park scene they are framed in medium long shots so the viewer sees the bodies of the two men who are dressed almost identically, with dark coats and hats, two friends walking in the park. While much of the film involves cross-cutting between close-ups, and

in The British monarchy on screen
Abstract only
Sara Callahan

different perspectives on the projected image, see T. J. Trodd (ed.), Screen/Space: The Projected Image in Contemporary Art (Manchester: Manchester University Press, 2011). 23 I discuss these issues in S. Callahan, ‘“The Analogue”: Conceptual Connotations of a Historical Medium’, in S. Petersson et al. (eds), The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection (Stockholm: Stockholm

in Art + Archive
Abstract only
Framing space and social exclusion in the films of Laurent Cantet
James S. Williams

in contemporary French cinema.indd 167 11/01/2013 15:18:40 168 Space and being in contemporary French cinema Haitian head-waiter Albert is accorded only a voice-over as he goes about his duties, while the native male gigolos enjoy no individual screenspace or voice-over whatsoever.17 In fact, the voice-over soliloquies have an ambigious status within the film’s diegesis. Are they benign interrogations or confessions, and if so, is the viewer being positioned as a judge who can apportion blame, or perhaps as a priest who can absolve? Our role is made

in Space and being in contemporary French cinema