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

From Screenpedia
(Difference between pages)
Jump to navigationJump to search
(updated)
 
 
Line 1: Line 1:
−
==''Le Million''==
+
<gallery mode="packed" heights=200px>
−
*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 )
+
File:TreasonOfImagesShadow.jpg|alt=René Magritte's ''The Treason of Images'' (1928-9).|René Magritte's ''The Treason of Images'' (1928-9).
−
*#'''Groups 2 & 5:''' :00:04:16 Interrupted embrace.
+
</gallery>
−
*#'''Group 3:''' :00:37:55 Michel in a taxi.
+
#'''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"?
−
*#'''Group 4:''' :00:56:09 Michel and Béatrice, trapped on stage.
+
#'''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?
−
*#'''Group 6 & 1:''' :01:12:00 The backstage struggle for the jacket.
+
#'''Group 3:''' How does Hughes characterize the surrealist use of sexuality?
 +
#'''Group 4:''' What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
 +
#What elements of surrealism do you see in these films?
 +
#*'''Group 1 and 6:''' ''Entr'Acte'' (Clair, 1924)
 +
#*'''Groups 2 and 5:''' ''Un Chien Andalou'' (Buñuel/Dalí, 1928)
 +
#*'''Groups 3 and 4:''' ''Zero for Conduct'' (Vigo, 1933)
 +
#'''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.)
  
−
==''The Crime of M. Lange''==
+
==Bibliography==
−
#'''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''"?
+
*Hughes, Robert. ''The Shock of the New''. NY: Alfred A. Knopf, 1980.
−
#'''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
 
−
#'''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'')?
 
−
#'''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==
 
==External links==
−
*[http://www.tcf.ua.edu/EO/DV/Million.php Sound Experiments in ''Le Million'']
+
*[https://tvcrit.org/Classes/Jbutler/T340/SurrealismLecture.php Dada & Surrealism Illustrations]
−
 
 
−
==Bibliography==
 
−
*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 21:47, 16 September 2019

  • René Magritte's The Treason of Images (1928-9).

    René Magritte's The Treason of Images (1928-9).

  1. 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"?
  2. 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?
  3. Group 3: How does Hughes characterize the surrealist use of sexuality?
  4. Group 4: What previously dismissed forms of art (what Hughes calls, "kinds of expression") did surrealists advocate for? Why?
  5. What elements of surrealism do you see in these films?
    • Group 1 and 6: Entr'Acte (Clair, 1924)
    • Groups 2 and 5: Un Chien Andalou (Buñuel/Dalí, 1928)
    • Groups 3 and 4: Zero for Conduct (Vigo, 1933)
  6. 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.)

Bibliography

  • Hughes, Robert. The Shock of the New. NY: Alfred A. Knopf, 1980.

External links

Retrieved from "https://screenpedia.org/index.php?title=JCM312/French_Cinema_Between_the_Wars_I:_Popular_Front_(Discussion)&oldid=3385"