DOCSLIB.ORG

Women and Cinema Jeremi Szaniawski

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Women and Cinema Jeremi Szaniawski (NB: This syllabus is a work in progress and is still subject to changes) Women and Cinema Jeremi Szaniawski This course aims at investigating the representation and role of women in the history of filmmaking and film theory, all the while mapping a history of cinema through important works dealing with and made by women. Important directors whose works we will analyze in class include Germaine Dulac, Maya Deren, Marguerite Duras, Agnès Varda, Chantal Akerman, Kira Muratova, Claire Denis, Kelly Reichardt, Samira Makhmalbaf, Andrea Arnold or Lucretia Martel; and scholars used here will include Susan Sontag, Julia Kristeva, Miriam Hansen, Kaja Silverman, Judith Butler, Mary Ann Doane, and, of course, Laura Mulvey. Week One: Introduction; women in classic cinema Session one: Female auteurs in the 19th century and Cinematic pioneers; Cinema as gaze and cinema as body. A male-dominated industry. Excerpts of prose and poetry by Mary Shelley, Emily Dickinson, the Brontë Sisters, Anne Radcliffe, Jane Austen. Cinematic Pioneers: Germaine Dulac (France), Lotte Reiniger (Germany), Maya Deren (USA), Esfir Shub (Soviet Union) Screening: La Souriante Madame Beudet; Meshes of the Afternoon Readings: Charles Musser, Lotte Eisner, Miriam Hansen Session two: damsels in distress and photogénie; women and gender roles in Hollywood genre films Screening: The Passion of Joan of Ark (Carl Theodor Dreyer) Other excerpts from The Lonely Villa, Birth of a Nation (D.W. Griffith), Pandora’s Box (G.W. Pabst), 42nd street (Lloyd Bacon), The Public Enemy (William Wellman), Jezebel (William Wyler); Double Indemnity (Billy Wilder); The Lady from Shanghai (Orson Welles) Reading: Jean Epstein, Laura Mulvey, Mary Anne Doane, Molly Haskell, E. Ann Kaplan Week Two: Women, WWII and its aftermath Session one: Women and fascism, Women in war Screening: Una Giornata Particolare (Ettore Scola) Excerpt from Triumph of the Will (Lenni Riefenstahl), Night Porter (Liliana Cavani), Landscape after the Battle (Andrzej Wajda) Readings: Janet Maslin, Jill Stephenson, Kevin Passmore, Victoria De Grazia Session two: Domesticity and feminism: Melodrama Analysis of the photograph ‘Sailor kissing nurse’ Screening: All that Heaven Allows (Douglas Sirk), an episode of Mad Men Other excerpts of films shoWn in class: Ali, Fear Eats the Soul (R.W. Fassbinder) Week Three: New Waves Session one : the French New Wave Screenings: Cléo de 5 à 7 (Agnès Varda) Other excerpts of films seen in class: Hiroshima mon amour (Alain Resnais), La Pointe Courte (Agnès Varda), Breathless, My Life to Live (Jean-Luc Godard), Jules et Jim (François Truffaut), India Song (Marguerite Duras), Céline and Julie Go Boating (Jacques Rivette) Readings: Claire Johnston, Hilary Radner, Anne Gillain Session two: female filmmakers in Eastern Europe Screenings: Daisies (Vera Chytilova) Other excerpts of films shoWn in class: The Ascent (Larisa Shepitko), The Asthenic Syndrome, Three Stories (Kira Muratova), The Border Street (Wanda Jakubowska) Readings: Jane Taubman Week Four: Feminist cinema in the 1970s: renegotiating the gaze, the geste, duration. Session One: Laura Mulvey Screening: Riddles of the Sphinx (Laura Mulvey and Peter Wollen) Session Two: Chantal Akerman Screening: Les Rendez-vous d’Anna (Chantal Akerman) Other excerpts of films shoWn in class: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman), Dust (Marion Hänsel) Readings: Laura Mulvey, Ivone Margulies, Marcelline Block Week Five: Feminism and female filmmakers, ctd Session one: New York state of mind Screening: Girlfriends (Claudia Weill) Other excerpts shown in class: Joyce at 34 (Joyce Chopra) Session two: Documentary Screenings: TBD Readings: Susan Sontag, Gilles Deleuze, Marilyn Johns-Blackwell, Judith Butler, Richard Dyer Week Six: Case studies Session One: Claire Denis, Screenings: Beau Travail (Alfred Hitchcock) Session Two: Female filmmakers today: Lucretia Martel, Andrea Arnold, Kelly Reichardt, Athina Rachel Tsangari Screenings: Meek’s Cutoff (Kelly Reichardt) Other excerpts shoWn in class: Attenberg (Athina Rachel Tsangari), La Niña Santa (Lucretia Martel), Wendy and Lucy (Kelly Reichardt), Fish Tank (Andrea Arnold) Readings: Kaja Silverman Closing remarks: Hollywood re-appropriations (Kathryn Bigelow, Sofia Coppola, Jane Campion); post-feminism Other excerpts of films shoWn in class: The Piano (Jane Campion) Readings: Tania Modleski, Angela McRobbie, Jeremi SzaniaWski .
Load more

Recommended publications
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Film Film Film Film
    City of Darkness, City of Light is the first ever book-length study of the cinematic represen- tation of Paris in the films of the émigré film- PHILLIPS CITY OF LIGHT ALASTAIR CITY OF DARKNESS, makers, who found the capital a first refuge from FILM FILMFILM Hitler. In coming to Paris – a privileged site in terms of production, exhibition and the cine- CULTURE CULTURE matic imaginary of French film culture – these IN TRANSITION IN TRANSITION experienced film professionals also encounter- ed a darker side: hostility towards Germans, anti-Semitism and boycotts from French indus- try personnel, afraid of losing their jobs to for- eigners. The book juxtaposes the cinematic por- trayal of Paris in the films of Robert Siodmak, Billy Wilder, Fritz Lang, Anatole Litvak and others with wider social and cultural debates about the city in cinema. Alastair Phillips lectures in Film Stud- ies in the Department of Film, Theatre & Television at the University of Reading, UK. CITY OF Darkness CITY OF ISBN 90-5356-634-1 Light ÉMIGRÉ FILMMAKERS IN PARIS 1929-1939 9 789053 566343 ALASTAIR PHILLIPS Amsterdam University Press Amsterdam University Press WWW.AUP.NL City of Darkness, City of Light City of Darkness, City of Light Émigré Filmmakers in Paris 1929-1939 Alastair Phillips Amsterdam University Press For my mother and father, and in memory of my auntie and uncle Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 633 3 (hardback) isbn 90 5356 634 1 (paperback) nur 674 © Amsterdam University Press, Amsterdam, 2004 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
    [Show full text]
  • Catalogue-2018 Web W Covers.Pdf
    A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz.
    [Show full text]
  • Immanent Frames: Postsecular Cinema Between Malick and Von Trier
    Journal of Religion & Film Volume 24 Issue 2 October 2020 Article 9 October 2020 Immanent Frames: Postsecular Cinema between Malick and von Trier Pablo Alzola Rey Juan Carlos University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Alzola, Pablo (2020) "Immanent Frames: Postsecular Cinema between Malick and von Trier," Journal of Religion & Film: Vol. 24 : Iss. 2 , Article 9. DOI: 10.32873/uno.dc.jrf.24.2.009 Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/9 This Book Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Immanent Frames: Postsecular Cinema between Malick and von Trier Abstract This is a book review of John Caruana and Mark Cauchi, eds., Immanent Frames: Postsecular Cinema between Malick and von Trier. Author Notes Pablo Alzola is Assistant Professor of Esthetics at the Department of Educational Sciences, Language, Culture and Arts at Rey Juan Carlos University (URJC) in Madrid, Spain. He has written several articles and book chapters on film and eligion,r together with a recent book on the cinema of Terrence Malick: El cine de Terrence Malick. La esperanza de llegar a casa (EUNSA, 2020). This book review is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol24/iss2/9 Alzola: Immanent Frames Caruana, John and Cauchi, Mark (eds.). Immanent Frames: Postsecular Cinema between Malick and von Trier.
    [Show full text]
  • The Holocaust in French Film : Nuit Et Brouillard (1955) and Shoah (1986)
    San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research 2008 The Holocaust in French film : Nuit et brouillard (1955) and Shoah (1986) Erin Brandon San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Brandon, Erin, "The Holocaust in French film : Nuit et brouillard (1955) and Shoah (1986)" (2008). Master's Theses. 3586. DOI: https://doi.org/10.31979/etd.y3vc-6k7d https://scholarworks.sjsu.edu/etd_theses/3586 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. THE HOLOCAUST IN FRENCH FILM: NUITETBROUILLARD (1955) and SHOAH (1986) A Thesis Presented to The Faculty of the Department of History San Jose State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Erin Brandon August 2008 UMI Number: 1459690 Copyright 2008 by Brandon, Erin All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1459690 Copyright 2008 by ProQuest LLC.
    [Show full text]
  • Belgium and Brussels
    BELGIUM AND BRUSSELS Independent since 1830, Belgium is a constitutional and a half from the French capital. Which brings us to and parliamentarian monarchy, whose current king is yet another benefit of being in Brussels: it is just a short Philipp the 1st. Belgium is a federal state consisting hop away from Paris, London, and Amsterdam… of three regions: Brussels, the bilingual capital where French and Dutch are official languages; Flanders, the Dutch-speaking North; and Wallonia, the FOR MORE INFORMATION Frenchspeaking - and Germanspeaking South. ABOUT BRUSSELS, Among the famous Belgians, one can think of the famous composers and singers Jacques Brel and you can visit the official Brussels website Stromae; the actors Benoît Poelvoorde and Matthias https://visit.brussels/en Schoenaerts; the writers Amélie Nothomb and Maurice Maeterlinck (Nobel Prize for Literature in 1911); the artists and cartoonists Georges Rémi (Hergé, Father of Tintin), Franquin (Gaston Lagaffe), Peyo (the Smurfs), Morris (Lucky Luke); the film directors Chantal Akerman, Jaco Van Dormael, Jean-Pierre and Luc Dardenne; the painter René Magritte; the architect Victor Horta; and the athletes Eddy Merckx (cyclist), Eden Hazard (football) and Nafissatou Thiam (athletics). Belgium wouldn’t be Belgium without its mouth- watering chocolates, its wide range of local beers and mussels served with French fries ! Belgium has a lot of historical, artistic, gastronomical, architectural and natural wonders which we invite you to discover during your stay here. BRUXELLES, LE SAVIEZ- MA BELLE VOUS ? Brussels is among the world’s most diverse capitals, Our university has a long standing home to the headquarters of the European Union, tradition of excellence, as evidenced by NATO, and countless international companies and the many accolades given in recognition organisations.
    [Show full text]
  • Of Gods and Men
    A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may.
    [Show full text]
  • A Mode of Production and Distribution
    Chapter Three A Mode of Production and Distribution An Economic Concept: “The Small Budget Film,” Was it Myth or Reality? t has often been assumed that the New Wave provoked a sudden Ibreak in the production practices of French cinema, by favoring small budget films. In an industry characterized by an inflationary spiral of ever-increasing production costs, this phenomenon is sufficiently original to warrant investigation. Did most of the films considered to be part of this movement correspond to this notion of a small budget? We would first have to ask: what, in 1959, was a “small budget” movie? The average cost of a film increased from roughly $218,000 in 1955 to $300,000 in 1959. That year, at the moment of the emergence of the New Wave, 133 French films were produced; of these, 33 cost more than $400,000 and 74 cost more than $200,000. That leaves 26 films with a budget of less than $200,000, or “low budget productions;” however, that can hardly be used as an adequate criterion for movies to qualify as “New Wave.”1 Even so, this budgetary trait has often been employed to establish a genealogy for the movement. It involves, primarily, “marginal” films produced outside the dominant commercial system. Two Small Budget Films, “Outside the System” From the point of view of their mode of production, two titles are often imposed as reference points: Jean-Pierre Melville’s self-produced Silence of 49 A Mode of Production and Distribution the Sea, 1947, and Agnes Varda’s La Pointe courte (Short Point), made seven years later, in 1954.
    [Show full text]
  • Presseheft English.Indd
    „Das Boot Ist Voll“ („The Boat is Full“ 1981) by Markus Imhoof “The Boat is Full” – AWARDS CONTENTS: - Film Festival Berlin: Silver Bear (best script and best direction of actors), 1981 Short Summary / Summary 2 - Price of the International Film Press Organisation (FIPRESCI), 1981 A Short History of the Hitler refugees in Switzerland 3 - Price of the International Committee for the Distribution of Arts and The Reception History of „The Boat is Full“ 5 Literature by Film, 1981 History, Restoration and Reconstruction 8 - Price of the International Catholic Film Offi ce, 1981 Memoriav 10 Cast/ Team/ Technical Specifi cations 12 - Otto Dibelus Award: Price of the International Protestant Film Jury, 1981 Biographies: - Quality Premium of the Swiss Department for Internal Affairs, 1981 Markus Imhoof 13 - Film Price of the City of Zürich, 1981 Tina Engel 14 - Price of the Foundation ALIZA (remembering the victims of the attempt of Curt Boir October 3 in 1980, Copernic street), 1981 Renate Steiger - Big Price of the 10th Human Rights Festival in Strassburg, 1981 Mathias Gnädinger 15 George Reinhart - Festival of Historical Films: Golden Eagle, 1981 Awards 16 - Price of the Evangelical Jury, Berlin, 1981 - Price René Clair – David di Donatello, Rom, 1982 - David Wark Griffi th Award (National Council of Film Critics in New York), 1982 - New York: Cristopher Award for direction and script, 1982 - Nomination for an Academy Award for the best foreign fi lm, 1982 Press pictures at : www.markus-imhoof.ch (data-fi le in tif-format) 16 1 SHORT SUMMARY MATHIAS GNÄDINGER GEORGE REINHART (1942–1997) A hotchpotch group of refugees secretly manages to cross the border into Switzerland Born 1941 in Ramsen.
    [Show full text]
  • Bilan 2011 Du Centre Du Cinéma Et De L
    PRODUCTION, PROMOTION ET DIFFUSION CINÉMATOGRAPHIQUES ET AUDIOVISUELLES LE BILAN 2011 Sommaire Introduction 5 Introduction générale 7 Faits marquants 8 Enveloppe budgétaire pour la production audiovisuelle 2011 12 Chapitre 1 Commission de Sélection des Films 15 Budget 17 Faits marquants 17 Répartition des promesses d’aides 22 Sélection des projets 23 Récapitulatif des sélections de 2008 à 2011 24 Projets soutenus 27 Tableau comparatif des liquidations de 2008 à 2011 (CSF) 48 Productions aidées par la CSF, terminées en 2011 49 Chapitre 2 Subventions à la diffusion et primes à la qualité 53 Subventions à la diffusion et primes à la qualité 55 Films reconnus par la Fédération Wallonie-Bruxelles en 2011 56 Montants des subventions à la diffusion et primes à la qualité 60 Chapitre 3 Coproductions avec les éditeurs et les distributeurs de services télévisuels 69 Contribution des télévisions et des distributeurs à la production 71 Convention entre la RTBF, les associations professionnelles et la FWB 75 Tableau comparatif des liquidations de 2008 à 2011 (Fonds Spécial) 79 Coproductions et préachats des éditeurs et distributeurs privés 80 Chapitre 4 Ateliers d’accueil, de production et ateliers d’écoles 85 Subventions octroyées par le Centre du Cinéma et de l’Audiovisuel 87 Bilan 91 Chapitre 5 Promotion et diffusion 105 Promotion et diffusion 107 Publications - Informations 115 Prix de la Fédération Wallonie-Bruxelles 120 Chapitre 6 Aides européennes, coproduction et relations internationales 123 Aides européennes 125 Coproduction internationale
    [Show full text]
  • Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer
    University of Central Florida STARS Faculty Scholarship and Creative Works 3-2014 Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard Barry J. Mauer University of Central Florida, [email protected] Part of the Arts and Humanities Commons Find similar works at: https://stars.library.ucf.edu/ucfscholar University of Central Florida Libraries http://library.ucf.edu This Book Chapter is brought to you for free and open access by STARS. It has been accepted for inclusion in Faculty Scholarship and Creative Works by an authorized administrator of STARS. For more information, please contact [email protected]. Original Citation Mauer, Barry. "Rigorous Infidelity: Whole extT Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard." Sampling Media, Oxford University Press, Editors: Laurel Westrup, David Laderman, pp.60-72 1 “Rigorous Infidelity: Whole Text Sampling in the Curatorial Work of Henri Langlois, Dewey Phillips, and Jean-François Lyotard” Barry Mauer Introduction John Rajchman’s “Les Immatériaux or How to Construct the History of Exhibitions” asks, “In what ways have exhibitions, more than simple displays and configurations of objects, helped change ideas about art, intersecting at particular junctions with technical innovations, discursive shifts and larger kinds of philosophical investigations, thus forming part of these larger histories?” This essay attempts to answer his question by discussing curating as whole text sampling.1 Sampling, of which whole text sampling is a subset of practices, is the appropriation and recontextualization of texts or textual fragments; it involves choosing an object or text and deploying it for other uses.
    [Show full text]
  • Hiroshima Mon Amour and L'annee Derniere a Marienbad: Meaning Conveyed Through Cinematic Organization
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 7-2-1997 Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed through Cinematic Organization Ellen Leigh Agee Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the French and Francophone Language and Literature Commons Let us know how access to this document benefits ou.y Recommended Citation Agee, Ellen Leigh, "Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed through Cinematic Organization" (1997). Dissertations and Theses. Paper 5210. https://doi.org/10.15760/etd.7086 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THESIS APPROVAL The abstract and thesis of Ellen Leigh Agee for the Master of Arts in French were presented July 2, 1997, and accepted by the thesis cormnittee and the department. COMMITTEE APPROVALS: ·-)rie Terdal Representative of the Office of Graduate Studies DEPARTMENT APPROVAL: Louis Elteto, Chair Department of Foreign Languages and Literatures * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ACCEPTED FOR PORTLAND STATE UNIVERSITY BY THE LIBRARY on MljJ/ft/? ABSTRACT An abstract of the thesis of Ellen Leigh Agee for the Master of Arts in French presented July 2, 1997. Title: Hiroshima mon amour and L'Annee derniere a Marienbad: Meaning Conveyed Through Cinematic Organization. This thesis examines how the cinematic organization of film is used to convey meaning. Hiroshima mon amour (1959) and L'Annee derniere a Marienbad (1961) I two films directed by Alain Resnais, are used as models for this purpose.
    [Show full text]