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

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 center textbook in a large choice of upper-level undergraduate and graduate French cinema classes. not like 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." adequate talent in French is the only real prerequisite: "No earlier back­ground in movie reviews is believed, neither is any previous acquain­tance with French cinema. it's going to aid, after all, to love video clips, and to have visible really a few..." (from the preface).

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

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Printed in the United States of America. -J. Berg. p. cm. Includes bibliographical references and index. : alk paper) 1. French language—Readers. 2. French language—Textbooks for foreign speakers—English. 3. Motion pictures—France—History. I. Title. 6’421—dc22 2009050262 A catalogue record for this book is available from the British Library. 48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Table des matières Avant-propos de Michel Mourlet Preface Entrée en matière Matière à réflexion Chapitre 1 Éléments 1.

Si le très gros plan isole autre chose qu’une partie du corps humain, on emploie parfois le terme d’insert. 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?

Le film d’animation, par exemple, n’est-il pas fictionnel? Un film de fiction ou d’animation, un documentaire ne peuvent-ils pas expérimenter? -P. Filippe (France, 2005) ou Bobby d’Emilio Estevez (États-Unis, 2006), qui reconstituent des faits historiques avec scénario et acteurs? Et que dire du documenteur [anglais: mockumentary7], fiction qui se présente comme un documentaire, dont Opération Lune de William Karel (France, 2002) et Borat de Larry Charles (États-Unis, 2006) sont deux exemples récents?

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

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