Difference between pages "JCM312/The Avant-Garde (Discussion)" and "JCM312/French Cinema Between the Wars I: Popular Front (Discussion)"

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==''Le Million''==
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File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9).
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*In the following four instances, sound and image are ''not'' in sync. How does sound comment on or shape the image in these scenes? (Online at http://tvcrit.org/EO/DV/Million.php )
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</gallery>
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*#'''Groups 2 & 5:''' :00:04:16 Interrupted embrace.
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#'''Group 1:''' Why were surrealists obsessed with dreams and the insane? What does Robert Hughes mean when he characterizes "neurosis" as "the permanent involuntary form of dreams"?
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*#'''Group 3:''' :00:37:55 Michel in a taxi.
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#'''Group 2:''' René Magritte's ''The Treason of Images'' (1928-9) contains the phrase, "Ceci n'est pas une pipe" ("This is not a pipe"). What does Hughes feel is the significance of this phrase?
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*#'''Group 4:''' :00:56:09 Michel and Béatrice, trapped on stage.
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#'''Group 3:''' How does Hughes characterize the surrealist use of sexuality?
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*#'''Group 6 & 1:''' :01:12:00 The backstage struggle for the jacket.
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#'''Group 4:''' What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
 
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#What elements of surrealism do you see in these films? Cite ''specific'' elements from the film.
 
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#*'''Groups 1 and 5:''' ''Entr'Acte'' (Clair, 1924)
 
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#*'''Groups 2 and 4:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
 
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#*'''Groups 3:''' ''Zero for Conduct'' (Vigo, 1933)
 
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#'''All groups:''' Hughes maintains that "The [surrealist] object was collage in three dimensions" (p. 241). What do you think he means by this? (Meret Oppenheim's ''Luncheon in Fur'' is one example.)
 
  
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==Bibliography==
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==''The Crime of M. Lange''==
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*Hughes, Robert. ''The Shock of the New''. NY: Alfred A. Knopf, 1980.
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#'''Group 4:''' In 1936, right after the Popular Front scored a victory in the election, there were nationwide strikes. What impact did these strikes have on the film industry? Specifically, what was the "''Contrat Collectif''"?
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#'''Group 1:''' Among the significant events of 1936 was the founding of Ciné-Liberté. What were the objectives of this association and what was Renoir's relationship to it?
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#*Describe the film, ''La vie est à nous'', and its relationship to the Popular Front
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#'''Group 2:''' Strebel writes that the working man (often played by Jean Gabin), aka the "proletarian hero," was often a part of films of this era. How does she characterize him (e.g., in ''The Crime of M. Lange'')?
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#'''Group 3:''' According to Strebel, "The parallels between the growth of the cinematographic movement [that is, 1930s French "social cinema"] and its corresponding socio-political movement, the Popular Front, are extremely close." How so?
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== ''The Crime of M. Lange'' cast==
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Actor ... character
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*René Lefèvre ... Amédée Lange
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*Florelle ... Valentine
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*Jules Berry ... Batala
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*Marcel Lévesque ... The Concierge
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*Odette Talazac ... The Concierge
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*Henri Guisol ... Meunier (the son)
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*Maurice Baquet ... Charles, The Concierges' Son
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*Jacques B. Brunius ... Mr. Baigneur
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*Sylvain Itkine ... Batala's cousin
  
 
==External links==
 
==External links==
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*[https://tvcrit.org/Classes/Jbutler/T340/SurrealismLecture.php Dada & Surrealism Illustrations]
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*[https://tvcrit.org/EO/DV/Million.php Sound Experiments in ''Le Million'']
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*[https://vimeo.com/359677374 ''Entr'Acte'']
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*[https://vimeo.com/347838506 ''Un Chien Andalou'']
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==Bibliography==
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**[https://tvcrit.org/Classes/Jbutler/T340/SurrealismUnChienAndalou.php Screenshots.]
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*Strebel, Elizabeth Grottle. "French Social Cinema and the Popular Front." ''Journal of Contemporary History'' 12, no. 3 (July 1977), 499-519.
  
 
[[Category:JCM312 Discussion]]
 
[[Category:JCM312 Discussion]]

Revision as of 21:14, 17 September 2019

Le Million

  • In the following four instances, sound and image are not in sync. How does sound comment on or shape the image in these scenes? (Online at http://tvcrit.org/EO/DV/Million.php )
    1. Groups 2 & 5: :00:04:16 Interrupted embrace.
    2. Group 3: :00:37:55 Michel in a taxi.
    3. Group 4: :00:56:09 Michel and Béatrice, trapped on stage.
    4. Group 6 & 1: :01:12:00 The backstage struggle for the jacket.

The Crime of M. Lange

  1. Group 4: In 1936, right after the Popular Front scored a victory in the election, there were nationwide strikes. What impact did these strikes have on the film industry? Specifically, what was the "Contrat Collectif"?
  2. Group 1: Among the significant events of 1936 was the founding of Ciné-Liberté. What were the objectives of this association and what was Renoir's relationship to it?
    • Describe the film, La vie est à nous, and its relationship to the Popular Front
  3. Group 2: Strebel writes that the working man (often played by Jean Gabin), aka the "proletarian hero," was often a part of films of this era. How does she characterize him (e.g., in The Crime of M. Lange)?
  4. Group 3: According to Strebel, "The parallels between the growth of the cinematographic movement [that is, 1930s French "social cinema"] and its corresponding socio-political movement, the Popular Front, are extremely close." How so?

The Crime of M. Lange cast

Actor ... character

  • René Lefèvre ... Amédée Lange
  • Florelle ... Valentine
  • Jules Berry ... Batala
  • Marcel Lévesque ... The Concierge
  • Odette Talazac ... The Concierge
  • Henri Guisol ... Meunier (the son)
  • Maurice Baquet ... Charles, The Concierges' Son
  • Jacques B. Brunius ... Mr. Baigneur
  • Sylvain Itkine ... Batala's cousin

External links

Bibliography

  • Strebel, Elizabeth Grottle. "French Social Cinema and the Popular Front." Journal of Contemporary History 12, no. 3 (July 1977), 499-519.
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