It also considers a range of important contexts, from material conditions of film viewing (and therefore criticism) to the cultural and political shifts of 1956. The book provides a cross-section of the British culture and its attitudes to film. Mise-en-scene, and other ways of conceiving visual style, has been central to so many important debates that the writing examined in the book shaped the field in enduring ways. This book explores the role of mise-en-scene in melodrama criticism, and considers what happened to detailed criticism as major theoretical movements emerged in the 1970s. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. ![]() New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. Dumont's attraction to real settings and locality suggests a commitment to realism. Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts.
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