Difference between revisions of "JCM312/French Cinema Between the Wars I: Popular Front (Discussion)"

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==''Le Million''==
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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? Is it diegetic or non-diegetic? (Online at http://tvcrit.org/EO/DV/Million.php Vimeo password: tcf123abc! )
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*#'''Groups 2 & 5:''' :00:37:55 Michel in a taxi.
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*#'''Group 3:''' :01:12:00 The backstage struggle for the jacket.
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*#'''Group 4:''' :00:56:09 Michel and Béatrice, trapped on stage.
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*#'''Group 1:''' :00:04:16 Interrupted embrace.
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==''The Crime of M. Lange''==
 
==''The Crime of M. Lange''==
#In 1936, Léon Blum was elected premier of France. What, according to Fofi, was the general response to his election and why was his election significant to the Popular Front?
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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''"?
#Among the significant events of 1936 was the founding of Ciné-Liberté. What was the purpose or agenda of this association and what was Renoir's relationship to it?
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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?
#*''La Vie est a nous''
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#*Describe the film, ''La vie est à nous'', and its relationship to the Popular Front
#Fofi argues that actor Jean Gabin and the characters he played were symbolic of the end of the Popular Front. How so?
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#'''Groups 2 & 5:''' 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'')?
#How are Popular Front values played out 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?
 
 
==''Le Million''==
 
#List four instances in the film where sound and image are ''not'' in sync. How does sound comment on or shape the image in these instances?
 
  
 
== ''The Crime of M. Lange'' cast==
 
== ''The Crime of M. Lange'' cast==
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==External links==
 
==External links==
*[http://www.tcf.ua.edu/EO/DV/Million.php Sound Experiments in ''Le Million'']
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*[https://tvcrit.org/EO/DV/Million.php Sound Experiments in ''Le Million'']
  
 
==Bibliography==
 
==Bibliography==
Fofi, Goffredo. "The Cinema of the Popular Front in France (1934-38)." In ''Screen Reader I'', pp. 172-224. London: SEFT, 1977.
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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:TCF340 Discussion]]
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[[Category:JCM312 Discussion]]

Latest revision as of 15:16, 24 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? Is it diegetic or non-diegetic? (Online at http://tvcrit.org/EO/DV/Million.php Vimeo password: tcf123abc! )
    1. Groups 2 & 5: :00:37:55 Michel in a taxi.
    2. Group 3: :01:12:00 The backstage struggle for the jacket.
    3. Group 4: :00:56:09 Michel and Béatrice, trapped on stage.
    4. Group 1: :00:04:16 Interrupted embrace.

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. Groups 2 & 5: 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.