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Le Grand Jeu is a 1934 French drama film directed by Jacques Feyder and starring Pierre Richard-Willm, Marie Bell, Charles Vanel and Françoise Rosay. It is a romantic drama set against the background of the French Foreign Legion, and the film was an example of poetic realism in the French cinema. The title Le Grand Jeu refers to the practice ...
Nouveau réalisme (French for "new realism") is an artistic movement founded in 1960 by the art critic Pierre Restany [1] and the painter Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April ...
French impressionist cinema ( first avant-garde or narrative avant-garde) refers to a group of French films and filmmakers of the 1920s. Film scholars have had much difficulty in defining this movement or for that matter deciding whether it should be considered a movement at all. David Bordwell has attempted to define a unified stylistic ...
1) Realism as a nineteenth-century movement vs. realism as a timeless stylistic mode; I will designate these as “Realism” and “realism,” respectively. 2) Realism in non-German-speaking countries, above all, France, England, and Russia (referred to in this chapter as “European Realism”) vs. Realism in Germany, Switzerland, and ...
Pépé le Moko ( Jean Gabin) is a notorious thief who has been hiding in the labyrinthine Casbah for nearly two years. Despite the police's awareness of his presence, they have been unable to capture him due to the community's support and intricate layout. Pépé's life in the Casbah becomes monotonous, but leaving would result in his arrest.
Head of Plato, Roman copy. The original was exhibited at the Academy after the death of the philosopher (348/347 BC). Platonism is the philosophy of Plato and philosophical systems closely derived from it, though contemporary Platonists do not necessarily accept all doctrines of Plato. [1] Platonism has had a profound effect on Western thought.
Nicholas Christopher, Somewhere in the Night (1997) While many critics refer to film noir as a genre itself, others argue that it can be no such thing. Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization, theme, and visual design." Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in ...
