À la rencontre du cinéma français. Analyse, genre, histoire - download pdf or read online

By Robert J. Berg

ISBN-10: 0300158718

ISBN-13: 9780300158717

À los angeles rencontre du cinéma français: examine, style, histoire is meant to function the middle textbook in a wide selection of upper-level undergraduate and graduate French cinema classes. unlike content-, theme-, or issue-based techniques to movie, Professor Berg stresses "the cinema­tic­ally particular, the warp and upholstery of the movie itself, the stuff of which it truly is made." enough skillability in French is the only prerequisite: "No earlier back­ground in movie experiences is believed, neither is any earlier acquain­tance with French cinema. it's going to support, in fact, to love video clips, and to have obvious fairly a few..." (from the preface).

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Extra resources for À la rencontre du cinéma français. Analyse, genre, histoire

Example text

A frustrating flaw in books on film is that concepts are often explained with reference to films that students have not seen and, in many cases, could never see. Explanations in this chapter are illustrated with reference primarily to one film: Amélie (in France, Le Fabuleux Destin d’Amélie Poulin). Students can locate examples using the coordinates provided (format: 1:06:34) and study them in context. The choice of Amélie was dictated by the following considerations: The film is a compendium of techniques and is thus ideal for illustrative purposes.

Dan Valahu of Baylor University and Michèle Magill of North Carolina State University reviewed the manuscript; their comments were helpful and appreciated. Entrée en matière En février 1892 un certain Léon Bouly fit breveter sous le nom de cinématographe une caméra-projecteur de son invention. Le néologisme avait été formé des mots grecs kinêmatos (mouvement) et graphein (écrire). Si Bouly est relégué aujourd’hui aux oubliettes de l’histoire, c’est que son appareil « ne pouvait pas marcher et ne marcha jamais ».

Le plan se caractérise aussi par son angle de prise de vues. 6b). 7a). 7b). Si les lignes horizontales du cadre ne sont pas parallèles à l’horizon, on dit que le cadrage est penché ou cassé [anglais: tilted (canted) shot]. On qualifie de plat ou de normal un cadrage sans angle [anglais: straight-on shot]: l’axe est parallèle au sol comme le cadre à l’horizon. Identifier l’angle ou l’échelle d’un plan serait un exercice sans intérêt si l’on s’arrêtait là: « Bon, d’accord, c’est un gros plan, mais… à quoi ça sert?

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À la rencontre du cinéma français. Analyse, genre, histoire by Robert J. Berg

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