Les genres du cinéma (2e édition) by Raphaëlle Moine

By Raphaëlle Moine

Le style, thought centrale dans l. a. construction cinématographique, suscite de nombreuses interrogations. remark le définir et le reconnaître ? Quelles fonctions remplit-il dans les processus de creation et de réception des movies ? remark s’inscrit-il dans l’histoire du cinéma ? 

Pour y répondre, ce livre suggest une réflexion conjointe sur los angeles thought elle-même, sur les principaux genres et sur les « gestes génériques » qui constant à nommer, reconnaître ou exploiter des genres cinématographiques. 

Cette synthèse des théories et des analyses portant sur les usages de l. a. proposal de style au cinéma, est illustrée de nombreux exemples empruntés aussi bien à l. a. filmographie hollywoodienne classique (western, comédie musicale, mélodrame, movie noir, etc.) qu’au cinéma de style contemporain, aux cinémas européens ou asiatiques. 

Intégrant les dernières recherches dans le domaine, cette nouvelle édition s’adresse aussi bien aux chercheurs qu’aux étudiants en cinéma, qui se doivent de maîtriser cette notion. 

Raphaëlle MOINE est professeure d’études cinématographiques à l’Université de Paris 10 Nanterre. Elle a récemment publié Remakes : les motion pictures français à Hollywood (CNRS Éditions, 2007).

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In the work presented here the development of scenarios is a case in point. We had never addressed the issue of media intrusion of privacy before, but it became clear to us in the course of the study that the fixed response questions that we normally worked with in gathering numeric data on attitudes would not capture in a meaningful way people’s thinking on when the intrusion of privacy was legitimate and when it was not, or at least would not capture the working through of people’s thinking in making moral judgements.

For people should be free to assent to or reject particular broadcasting practices and programming as they choose and, thus, the State should be impartial regarding their relative worth. The State’s laws should be justifiable to everyone subject to them, whatever tradition they belong to. Liberalism’s greatest virtue would, it is claimed, be its insistence upon the need to maintain a critical distance from the practices we are inducted into. Thus, liberalism enables us to focus upon considerations, norms and principles which transcend traditional concerns.

For, the kind of public culture into which individuals are inducted, in part constituted and shaped by broadcasting, determines the kind of public and private commitments that are meaningful rather than nominal options for individuals within society. Thus, it is crucial to clarify what our actual evaluative commitments regarding broadcasting are, what they ought to be and what such considerations entail in terms of broadcasting practice and policy. Only in the light of some critical understanding of which values in broadcasting we should respect, or seek to cultivate, can we properly assess how good broadcasting in Britain really is and how it ought to be regulated.

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