Critics and filmmakers in occupied France recognized films such as Le corbeau as exemplars for the French cinema of the future. More than simply the context-dependent products of an already constituted film culture, the films of the occupation were context-generative events that, insofar as they served as exemplars for practicing filmmakers, triggered the production of new techniques, skills, commitments, identities, and styles. In short, occupation-era films had effects within film culture that altered that culture's configurations.
To explain the films as the result of external forces and conditions is to foreclose inquiry into the films' substantive effects within the field of film practice.
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The methodological upshot of the account that follows is that the way to account for the films' constitutive dimension is to defer the closure of external causal explanation by describing films so as to disclose unfamiliar or anomalous aspects of their material singularity. The aim here is to change the dimension under which particular films are perceived, thus producing the kind of gestalt shift or "aspect seeing" that enables a new understanding of film style.
While it may be that the occupation did not introduce a dramatic change in methods of mise-en-scene, cinematography, and shot duration, changes in sound accompaniment allowed the results of such methods to become perspicuous in new ways. How did sound practice change during the occupation?
- The Hall in the Grove.
- When God is Silent!
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Most fundamentally, filmmakers no longer recorded a scene's dialogue at the same time as the ambient sound. Thus the TV image, in fostering a passion for depth involvement in every aspect of experience, creates an obsession with bodily welfare. The sudden emergence of the TV medic and the hospital ward as a program to rival the western is perfectly natural 1. The typical viewer sees about 12 doctors and 6 nurses each week on prime time alone, including 3 doctors and 1 nurse in major roles.
R ou House, M. R en ont tenu compte.
Derhy 9. En fait, House, M. House, M.
En effet, House, M. Bref, au lieu de nous rassurer, ces connaissances pointues nous rendraient plus anxieux et hypocondriaques.
Rose-Maïté Erkoreka - Agence artistique MVA
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