JCM312/French New Wave I: Alain Resnais (Discussion) - Revision history

Jeremy Butler: updated

2019-10-07T15:40:11Z

updated

Jeremy Butler at 00:28, 23 August 2019

2019-08-23T00:28:23Z

ScreenAdmin: 36 revisions imported

2019-08-14T21:31:21Z

36 revisions imported

Jeremy Butler: /* Theme, narrative, style */

2018-10-09T14:13:08Z

Theme, narrative, style

Jeremy Butler at 14:12, 9 October 2018

2018-10-09T14:12:47Z

Jeremy Butler at 14:10, 9 October 2018

2018-10-09T14:10:42Z

Jeremy Butler at 14:07, 9 October 2018

2018-10-09T14:07:30Z

Jeremy Butler at 14:06, 9 October 2018

2018-10-09T14:06:18Z

Jeremy Butler at 14:03, 9 October 2018

2018-10-09T14:03:15Z

Jeremy Butler: reorder groups

2017-10-10T01:26:35Z

reorder groups

@@ Line 5: / Line 5: @@
 '''All groups:'''
-#The first flashback occurs soon after a shot of She (figure 3.5; see [http://www.tcf.ua.edu/EO/DV/Hiroshima_BedScene.php this video clip]). What stylistic techniques does Resnais use to move into the past? That is, how does he manipulate mise-en-scene, cinematography, editing and/or sound to signal the move into the past?
+#The first flashback occurs soon after a shot of She (figure 3.5; see [https://vimeo.com/345054687 this video clip]). What stylistic techniques does Resnais use to move into the past? That is, how does he manipulate mise-en-scene, cinematography, editing and/or sound to signal the move into the past?
 #What parallels are there between the story in the past and the story in the present?
 #In the final scene, there is this exchange of dialogue (see screenshots below):
@@ Line 52: / Line 52: @@
 ==External links==
-*[http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/index.htm ''Hiroshima, Mon Amour'' screenshots]
+*[https://tvcrit.org/Classes/Jbutler/T340/Hiroshima/index.htm ''Hiroshima, Mon Amour'' screenshots]
-*[http://www.tcf.ua.edu/Classes/Jbutler/T340/NightAndFog/index.html ''Night and Fog'' screenshots]
+*[https://tvcrit.org/Classes/Jbutler/T340/NightAndFog/index.html ''Night and Fog'' screenshots]
 [[Category:JCM312 Discussion]]

@@ Line 13: / Line 13: @@
 #Considering both narrative and visual style, how is ''Hiroshima Mon Amour'' a classical film? How is it not?
-<gallery mode="packed" heights=300px>
+<gallery mode="packed" heights=200px>
 File:HiroshimaMonAmourqq01 29 47qq00012.jpg|alt=Hiroshima screenshot.|"Hiroshima. That's your name."
 File:HiroshimaMonAmourqq01 29 53qq00013.jpg|alt=Hiroshima screenshot of final shot.|Final shot. "And your name is Nevers."
@@ Line 20: / Line 20: @@
 ==Monaco article==
-<gallery mode="packed" heights=300px>
+<gallery mode="packed" heights=200px>
 File:HiroshimaMonAmourqq00 02 09qq00002.jpg|alt=Hiroshima screen shot.|First shot.
 File:HiroshimaMonAmourqq00 02 49qq00008.jpg|alt=Hiroshima screen shot.|
@@ Line 34: / Line 34: @@
 #'''Groups 2 & 4:''' James Monaco, in the captions to the frame enlargements, argues that the images' compositions mirror the relationships of the characters (see frame grab below). How so? Do you find his argument convincing?
-<gallery mode="packed" heights=300px>
+<gallery mode="packed" heights=200px>
 File:Hiroshima 43 jpg.jpg|alt=Hiroshima screenshot of "He" and "She."|He and She.
 </gallery>

@@ Line 7: / Line 7: @@
 #The first flashback occurs soon after a shot of She (figure 3.5; see [http://www.tcf.ua.edu/EO/DV/Hiroshima_BedScene.php this video clip]). What stylistic techniques does Resnais use to move into the past? That is, how does he manipulate mise-en-scene, cinematography, editing and/or sound to signal the move into the past?
 #What parallels are there between the story in the past and the story in the present?
-#In the final scene, there is this exchange of dialogue (see frame grabs below):
+#In the final scene, there is this exchange of dialogue (see screenshots below):
 #*She: "Hiroshima. That's your name."
 #*He: "And your name is Nevers."

@@ Line 1: / Line 1: @@
 Alain Resnais is pronounced [http://www.pronounceitright.com/pronounce/230/alain-resnais "ah-LAWN reh-NAY"].
 <gallery mode="packed" heights=300px>
@@ Line 17: / Line 36: @@
 <gallery mode="packed" heights=300px>
 File:Hiroshima 43 jpg.jpg|alt=Hiroshima screenshot of "He" and "She."|He and She.
 </gallery>

@@ Line 6: / Line 6: @@
 </gallery>
-#'''Group 1:''' According to Monaco ''Hiroshima Mon Amour'' is "two films, often working against each other." (Not the "two distinct films" he mentions on p. 34.)
+#'''Group 5:''' According to Monaco ''Hiroshima Mon Amour'' is "two films, often working against each other." (Not the "two distinct films" he mentions on p. 34.)
 #*What does he mean by this? What are the "two films"?
 #*How is this split evident in the title itself? And what does Monaco suggest is a more accurate translation of the title than "Hiroshima my love" (which would be the literal translation). Why does he prefer his translation?
-#'''Group 2:''' Who is Marguerite Duras [http://www.pronounceitright.com/pronounce/1740/marguerite-duras (pronounced "do-rahs")]? What was her part in ''Hiroshima Mon Amour''?
+#'''Group 6:''' Who is Marguerite Duras [http://www.pronounceitright.com/pronounce/1740/marguerite-duras (pronounced "do-rahs")]? What was her part in ''Hiroshima Mon Amour''?
 #*How does Duras describe the opening series of shots (see frame grabs above)?
 #*How does that opening encapsulate the "two films" that Monaco posits?
-#'''Group 3:''' James Monaco claims, "The theme of the film is the impossibility of making the film." What does he mean by that?
+#'''Groups 1 & 3:''' James Monaco claims, "The theme of the film is the impossibility of making the film." What does he mean by that?
-#'''Group 4:''' James Monaco, in the captions to the frame enlargements, argues that the images' compositions mirror the relationships of the characters (see frame grab below). How so? Do you find his argument convincing?
+#'''Groups 2 & 4:''' James Monaco, in the captions to the frame enlargements, argues that the images' compositions mirror the relationships of the characters (see frame grab below). How so? Do you find his argument convincing?
 <gallery mode="packed" heights=300px>

← Older revision	Revision as of 21:31, 14 August 2019
(No difference)

@@ Line 15: / Line 15: @@
 #'''Group 4:''' James Monaco, in the captions to the frame enlargements, argues that the images' compositions mirror the relationships of the characters (see frame grab below). How so? Do you find his argument convincing?
-{{Gallery
+<gallery mode="packed" heights=300px>
-|title=''Hiroshima, Mon Amour''
+File:Hiroshima 43 jpg.jpg|alt=Hiroshima screen shot.|He and She.
-|height=300
+</gallery>
 '''Theme, narrative, style'''
@@ Line 36: / Line 31: @@
 #Considering both narrative and visual style, how is ''Hiroshima Mon Amour'' a classical film? How is it not?
-{{Gallery
+<gallery mode="packed" heights=300px>
-|title=''Hiroshima, Mon Amour'' Ending
+File:HiroshimaMonAmourqq01 29 47qq00012.jpg|alt=Hiroshima screenshot.|"Hiroshima. That's your name."
-|height=300
+File:HiroshimaMonAmourqq01 29 53qq00013.jpg|alt=Hiroshima screenshot of final shot.|Final shot. "And your name is Nevers."
-|width=400
+</gallery>
 '''Principal cast of ''Hiroshima, Mon Amour''[http://www.imdb.com/title/tt0052893/combined]'''
@@ Line 60: / Line 50: @@
 ==External links==
-*[http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/index.htm ''Hiroshima, Mon Amour'' frame grabs]
+*[http://www.tcf.ua.edu/Classes/Jbutler/T340/Hiroshima/index.htm ''Hiroshima, Mon Amour'' screenshots]
-*[http://www.tcf.ua.edu/Classes/Jbutler/T340/NightAndFog/index.html ''Night and Fog'' frame grabs]
+*[http://www.tcf.ua.edu/Classes/Jbutler/T340/NightAndFog/index.html ''Night and Fog'' screenshots]
 [[Category:JCM312 Discussion]]