Intertextual Relationship Between Renoir’s Parte de Campagne and Truffaut’s Les Mistons
INTERTEXTUAL RELATIONSHIP BETWEEN RENOIR’S PARTE DE CAMPAGNE AND TRUFFAUT’S LES MISTONS
by Giulietta Tisminetzky
Course Name: Auteurism
Instructor’s Name: Sue Harris
Institution of Learning: Queen Mary University
Location of the School
Date: 14 December 2012
Introduction
France can be credited as the home to the film industry. French film directors can be said to have invented the whole concept of cinema. For instance, as early as 1895, Lumiere brothers produced a 50 seconds film titled The Arrival of a Train at La Ciotat Station and this led to pundits to name it as the first bold step in the cinema industry. They continued in their production until the First World War where they shifted focus to producing documentaries films and newsreel. However they had already laid the bedrock for the advancement of the film industry and other pioneers took it in the 1930’s. (Hortelano, 2011, p.256)
While during the First World War, the cinema industry seemed to have grounded to a halt, the period after 1920 going to 1930’s show emergence of younger film directors with much enthusiasm in the industry. Such included Marcel Carne, Rene Clair and Jean Renoir (Conley 2007 p.166). He adds that they experimented on wide styles and cinematic themes in the process. However, France was plunged into the Second World War in 1939 which consequently led to slow down the evolution of the cinema industry. This did not pick up until 1950’s where again France show emergence of young budding enthusiastic film directors who are regarded as the new wave, Nouvelle Vague, of cinema industry. This included among others, Jacques Rivette, Jean lucques Godard, Loius Malle, Francois Truffaut and Alain Resnais. This group of film makers believed that a filmmaker has possession of the film without interference from either studios or producers. This paper will discuss Partie de Campagne and Les Mistons., two films made by two great French film
by Giulietta Tisminetzky
Course Name: Auteurism
Instructor’s Name: Sue Harris
Institution of Learning: Queen Mary University
Location of the School
Date: 14 December 2012
Introduction
France can be credited as the home to the film industry. French film directors can be said to have invented the whole concept of cinema. For instance, as early as 1895, Lumiere brothers produced a 50 seconds film titled The Arrival of a Train at La Ciotat Station and this led to pundits to name it as the first bold step in the cinema industry. They continued in their production until the First World War where they shifted focus to producing documentaries films and newsreel. However they had already laid the bedrock for the advancement of the film industry and other pioneers took it in the 1930’s. (Hortelano, 2011, p.256)
While during the First World War, the cinema industry seemed to have grounded to a halt, the period after 1920 going to 1930’s show emergence of younger film directors with much enthusiasm in the industry. Such included Marcel Carne, Rene Clair and Jean Renoir (Conley 2007 p.166). He adds that they experimented on wide styles and cinematic themes in the process. However, France was plunged into the Second World War in 1939 which consequently led to slow down the evolution of the cinema industry. This did not pick up until 1950’s where again France show emergence of young budding enthusiastic film directors who are regarded as the new wave, Nouvelle Vague, of cinema industry. This included among others, Jacques Rivette, Jean lucques Godard, Loius Malle, Francois Truffaut and Alain Resnais. This group of film makers believed that a filmmaker has possession of the film without interference from either studios or producers. This paper will discuss Partie de Campagne and Les Mistons., two films made by two great French film