In this paper I tried to cover existing body of work of French film director Bruno Dumont. In his five feature films I tried to find common motives to examine the specificity of his work. What are the film tools he uses to address the spectator and what is the purpose. I identified the dominant motives as four philosophical categories: body, territory, awaken one self, guilt
Autofiction as realised in cinematic practice adds a figure of identification to the literary author...
In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regi...
Finding The Personal Voice In Filmmaking explores the largely ignored reality of intimate feelings a...
The thesis’s focus will be on the endings in the films of the French filmmaker Bruno Dumont. Dumont’...
Since the late 1990s Bruno Dumont has produced six feature films, approximately one every three year...
Despite extensive research on the notion of silence across a wide range of disciplines (music, philo...
This thesis represents an attempt to more clearly delineate current conceptions of a recent collecti...
International audienceThis book looks at a much-debated phenomenon in contemporary cinema: the re-em...
This chapter argues that contemporary filmmakers have worked with noise in their approach to sound d...
This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 co...
The possibility of being in a place, with distinctive sound characteristics, for a long period of ti...
Despite suffering from the after-effects of both World Wars and competition with music halls, mime, ...
The author first proposes an overview of the thinking that has dominated film studies: that which se...
Le silence est au cœur de tous les tissages musicaux, littéraires, cinématographiques. Son importanc...
French critic and composer Michel Chion argues that watching movies is more than just a visual exerc...
Autofiction as realised in cinematic practice adds a figure of identification to the literary author...
In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regi...
Finding The Personal Voice In Filmmaking explores the largely ignored reality of intimate feelings a...
The thesis’s focus will be on the endings in the films of the French filmmaker Bruno Dumont. Dumont’...
Since the late 1990s Bruno Dumont has produced six feature films, approximately one every three year...
Despite extensive research on the notion of silence across a wide range of disciplines (music, philo...
This thesis represents an attempt to more clearly delineate current conceptions of a recent collecti...
International audienceThis book looks at a much-debated phenomenon in contemporary cinema: the re-em...
This chapter argues that contemporary filmmakers have worked with noise in their approach to sound d...
This thesis examines a recent shift in attention to the auditory present in a strand of post-1999 co...
The possibility of being in a place, with distinctive sound characteristics, for a long period of ti...
Despite suffering from the after-effects of both World Wars and competition with music halls, mime, ...
The author first proposes an overview of the thinking that has dominated film studies: that which se...
Le silence est au cœur de tous les tissages musicaux, littéraires, cinématographiques. Son importanc...
French critic and composer Michel Chion argues that watching movies is more than just a visual exerc...
Autofiction as realised in cinematic practice adds a figure of identification to the literary author...
In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regi...
Finding The Personal Voice In Filmmaking explores the largely ignored reality of intimate feelings a...