Difference between revisions of "JCM312/French New Wave I: Alain Resnais (Discussion)"
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#'''Group 2:''' | #'''Group 2:''' | ||
#'''Group 3:''' | #'''Group 3:''' | ||
#'''Group 4:''' | #'''Group 4:''' | ||
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+ | #'''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.) | ||
+ | #*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? | ||
+ | #Who is Marguerite Duras (pronounced "do-rah")? 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? | ||
+ | #The first flashback occurs soon after a shot of She (figure 3.5; see frame grab below). 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): | ||
+ | #*She: "Hiroshima is you." | ||
+ | #*He: "You are Nevers of France." | ||
+ | #What do you think this means? What is the significance of place? | ||
+ | #Considering both narrative and visual style, how is Hiroshima Mon Amour a classical film? How is it not? | ||
==Bibliography== | ==Bibliography== |
Revision as of 15:09, 6 October 2008
- Group 2:
- Group 3:
- Group 4:
- 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.)
- 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?
- Who is Marguerite Duras (pronounced "do-rah")? 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?
- The first flashback occurs soon after a shot of She (figure 3.5; see frame grab below). 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):
- She: "Hiroshima is you."
- He: "You are Nevers of France."
- What do you think this means? What is the significance of place?
- Considering both narrative and visual style, how is Hiroshima Mon Amour a classical film? How is it not?
Bibliography
- Monaco, James. Alain Resnais. NY: Oxford University, 1979.