Download À la rencontre du cinéma français. Analyse, genre, histoire by Robert J. Berg PDF

By Robert J. Berg

À los angeles rencontre du cinéma français: examine, style, histoire is meant to function the middle textbook in a wide selection of upper-level undergraduate and graduate French cinema classes. not like content-, theme-, or issue-based methods to movie, Professor Berg stresses "the cinema­tic­ally particular, the warp and upholstery of the movie itself, the stuff of which it really is made." adequate skillability in French is the only real prerequisite: "No earlier back­ground in movie stories is believed, neither is any earlier acquain­tance with French cinema. it is going to aid, in fact, to love videos, and to have obvious particularly a few..." (from the preface).

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Additional info for À la rencontre du cinéma français. Analyse, genre, histoire

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Johnson and set by Integrated Publishing Solutions. Printed in the United States of America. -J. Berg. p. cm. Includes bibliographical references and index. : alk paper) 1. French language—Readers. 2. French language—Textbooks for foreign speakers—English. 3. Motion pictures—France—History. I. Title. 6’421—dc22 2009050262 A catalogue record for this book is available from the British Library. 48-1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 Table des matières Avant-propos de Michel Mourlet Preface Entrée en matière Matière à réflexion Chapitre 1 Éléments 1.

Au fil des ans le champ lexical du cinéma devait s’avérer fertile en néologismes. La plupart, éphémères, présentent un intérêt purement historique ou anecdotique: cinématurgie et cinégénie (par analogie avec dramaturgie et photogénie), cinégraphique (synonyme de cinématographique), cinégraphe (réalisateur), cinématographier, ciné-roman, cinémanie… D’autres — très peu — sont restés dans la langue: cinématographie (ensemble des techniques et des procédés relevant du cinéma3), cinéphile (personne passionnée de cinéma et qui s’y connaît), cinéaste (synonyme de réalisateur [anglais: director]), cinémathèque (par analogie avec bibliothèque), cinéparc (au Québec, traduction officielle de drive-in), ciné-club et quelques autres.

Mais le réalisateur n’est pas content; il faut faire une deuxième prise, une troisième, une quatrième. Cette dernière, élaguée des parties inutiles, finira dans le film, dont elle constituera un fragment parmi bien d’autres.

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