By T. Jefferson Kline
Unraveling French Cinema в„—ВЎprovides a miles wanted advent to the complexities of French movie forв„—ВЎstudents, cineastes, and the movie-loving public.:. seems to be on the modifications among French and American nationwide cinema;. Explores how French administrators form their movies round possibly divergent ambitions: the narration of a narrative and an elaboration of a few conception approximately movie itself.;. Demystifies the "difficulty" of French cinema, permitting the yank movie-goer to take pleasure in movies which are too usually confusing at a primary viewing.;. deals prolonged analyses of vintage, New Wave, and contempora. learn more... Cinema and/as poetry: L'Atalante's apples as poems -- Cinema and the true: Renoir's ideas -- Cinema and/as crime: Breaking the legislation within the youngsters of paradise, Pickpocket, and Breathless -- Cinema and/as mapping: reorienting ourselves via movie -- movie and/as dream: Truffaut's "royal highway" to Adele H. -- Cinema and/as hypnosis: Jacquot's 7th heaven -- Cinema and/as mourning: Anne Fontaine's How I killed my father -- Cinema and/as terror: Michael Haneke's Cache -- attractive fragments: discontinuity and the French cinema
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Additional info for Unraveling French Cinema: From L'Atalante to Cach
Poetry is, at every turn, not only the medium but the implicit subject of this film. That duality of purpose is certainly the element that makes this film so French. Ultimately we cannot know what the future holds for Jean and Juliette. Perhaps that is why the last shot of the film follows the Atalante moving enigmatically through a limitless expanse of water, onward into the night. The film offers no comfortable closure, only immense possibility. indd 33 9/15/2009 5:59:10 PM 34 Cinema and/as Poetry eye view of the barge, to sail along at some distance beneath our eyeline level.
4 This particularity of cinema is more than just a characteristic; “objectivity in time,” according to Bazin, constitutes the very ontology (the defining characteristic) of the seventh art. When we recall that almost nothing happens in the world of French cinema without a theoretical rationale, we can understand the importance of Bazin’s thinking for some of the filmmakers around him. If indeed, the very ontology of cinema is the real, then not only is true cinema realistic, but anything that takes away from this realism constitutes a betrayal of the nature of cinema.
Had she benefited from a larger perspective on this event, she doubtless would have acted with much more restraint (in keeping with her initial “confession” of her friendship with André), rather than falling entirely out of character, chasing after three different men during the carnivalesque gala, and ultimately agreeing to run off with André – a decision that directly leads to the “deplorable accident” that will result in André’s death. indd 43 9/15/2009 5:59:44 PM 44 Cinema and the Real that must be appreciated before we can grasp the film’s deeper meanings.
Unraveling French Cinema: From L'Atalante to Cach by T. Jefferson Kline