A comprehensive analysis of the function of breaks, shifts and ellipses in the films of Maurice Pialat (1925-2003).
Written in 2009; 9,451 words; 42 sources; APA; $ 194.95
Paper Summary:
The paper explores Maurice Pialat's use of sudden breaks, shifts, clashes and contrasts to emphasise the emotive value of a scene or dramatic sequence. The paper bases the analysis on an in-depth study of three of Pialat's films; "Nous Ne Vieillirons Pas Ensemble" "L'enfance Nue" and "A Nos Amours".
Outline:
Introduction
Nous Ne Vieillirons Pas Ensemble
L'enfance Nue
A Nos Amours
Conclusion
From the Paper:
"Maurice Pialat made his first feature length film, L'Enfance nue (1968), at forty-three years old, and proceeded to make only ten films in thirty years, a significant number of which he wished he had not made. He was also known for the difficulties surrounding the production of his films and compared to the amount of films produced by his contemporaries, he was an outsider. His relationship to the Nouvelle Vague movement is what Rene Predal (2005:7) called a 'rendez-vous manque'. This could be a metaphor for his work. Through filming the banal and the repetitions, shifts, breaks in seemingly insignificant events in everyday life, Pialat missed a certain element that made the narratives of the films of the Nouvelle Vague so elaborate. His blunt and anti-romantic narration however, somehow succeeds in reaching the emotional core of the stories he seeks to tell, leaving out the artifice of transitions, which he does not even take the time to film, and framing the characters in a very intimate way."
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