Download book Contemporary French and Francophone Cultures LUP: The Social Architecture of French Cinema, 1929-1939 by Margaret C. Flinn in MOBI, PDF, DJV
9781781380338 1781380333 From the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of musical comedies; from the propagandistic Popular Front documentaries about construction workers, to poetic realism's bittersweet portraits of populist neighborhoods: The SocialArchitecture of French Cinema explores the construction, representation and experience of spaces and places in documentary and realist films of the French 1930s. In this book, Margaret C. Flinn tracks the relation between the emergent techniques of French sound cinema and its thematic, social and political preoccupations through analysis of discourse in contemporary press, theoretical texts and through readings of films themselves. New light is shed on worksof canonical directors such as Renoir, Clair, Vigo and Duvivier by their consideration in relationship to little known documentary films of the era. Flinn argues that film has a readable architecture - a configuration of narrative and representations that informs, explains, and creates socialidentities, while reflecting upon the position of individuals within their societies., The Social Architecture of French Cinema provides a vital new reading of documentary and realist fiction film of the French 1930s that focuses on how these genres interlock their representations of urban spaces and places. From the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of Rene Clair's particularly French musical comedies; from the propagandistic Popular Front documentaries about construction workers, to Julien Duvivier and Marcel Carne's bittersweet portraits of populist neighborhoods: the narratives of Flinn's variegated corpus reveal a national sensibility increasingly marked by spatial crisis. This book contributes to the growing body of scholarship examining the shifts in spatial perception throughout the twentieth century by showing how both documentary and fiction films in the decade preceding World War II in France situated the individual in a paradoxical and changing social space, as well as how discourse surrounding their production and reception echoed the films' visual and verbal narratives of building community. The Social Architecture of French Cinema engages with and should be of interest to a number of disciplines in the humanities: film and media studies, history, and French cultural studies, as well as studies in national identity and spatial theory.
9781781380338 1781380333 From the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of musical comedies; from the propagandistic Popular Front documentaries about construction workers, to poetic realism's bittersweet portraits of populist neighborhoods: The SocialArchitecture of French Cinema explores the construction, representation and experience of spaces and places in documentary and realist films of the French 1930s. In this book, Margaret C. Flinn tracks the relation between the emergent techniques of French sound cinema and its thematic, social and political preoccupations through analysis of discourse in contemporary press, theoretical texts and through readings of films themselves. New light is shed on worksof canonical directors such as Renoir, Clair, Vigo and Duvivier by their consideration in relationship to little known documentary films of the era. Flinn argues that film has a readable architecture - a configuration of narrative and representations that informs, explains, and creates socialidentities, while reflecting upon the position of individuals within their societies., The Social Architecture of French Cinema provides a vital new reading of documentary and realist fiction film of the French 1930s that focuses on how these genres interlock their representations of urban spaces and places. From the fleetingly captured street scenes of the city symphony, to the meticulously reconstructed studio city of Rene Clair's particularly French musical comedies; from the propagandistic Popular Front documentaries about construction workers, to Julien Duvivier and Marcel Carne's bittersweet portraits of populist neighborhoods: the narratives of Flinn's variegated corpus reveal a national sensibility increasingly marked by spatial crisis. This book contributes to the growing body of scholarship examining the shifts in spatial perception throughout the twentieth century by showing how both documentary and fiction films in the decade preceding World War II in France situated the individual in a paradoxical and changing social space, as well as how discourse surrounding their production and reception echoed the films' visual and verbal narratives of building community. The Social Architecture of French Cinema engages with and should be of interest to a number of disciplines in the humanities: film and media studies, history, and French cultural studies, as well as studies in national identity and spatial theory.