L’humour de Tati
How can we define « an audio-visual style » and what, then, is « a humorous audio-visual style »? To the first question we may answer that a certain quality of movement characterizes the style of a filmmaker. And to the second, we support Bergson’s theory that the mixture of the mechanical and the l...
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| Format: | Article |
| Language: | English |
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Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel
2017-05-01
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| Series: | Mise au Point |
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| Online Access: | https://journals.openedition.org/map/2263 |
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| _version_ | 1850258962893504512 |
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| author | Jean-Pierre Esquenazi |
| author_facet | Jean-Pierre Esquenazi |
| author_sort | Jean-Pierre Esquenazi |
| collection | DOAJ |
| description | How can we define « an audio-visual style » and what, then, is « a humorous audio-visual style »? To the first question we may answer that a certain quality of movement characterizes the style of a filmmaker. And to the second, we support Bergson’s theory that the mixture of the mechanical and the living makes it possible to differentiate humorous audio-visual styles. These definitions prove useful to characterize the cinema of Jacques Tati. The filmmaker's gags and his obsession with wide shots allow him to confront social flows that reveal normality to accidents with an overflowing vitality. His style is characterized by the scrupulous introduction of a dissonant movement into a constant stream: an opposing movement, most often acoustic, takes precedence over the monotony of a uniform stream. |
| format | Article |
| id | doaj-art-ea9148952518437b9e449fd5d18f7cb1 |
| institution | OA Journals |
| issn | 2261-9623 |
| language | English |
| publishDate | 2017-05-01 |
| publisher | Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel |
| record_format | Article |
| series | Mise au Point |
| spelling | doaj-art-ea9148952518437b9e449fd5d18f7cb12025-08-20T01:56:00ZengAssociation Française des Enseignants et Chercheurs en Cinéma et AudiovisuelMise au Point2261-96232017-05-01910.4000/map.2263L’humour de TatiJean-Pierre EsquenaziHow can we define « an audio-visual style » and what, then, is « a humorous audio-visual style »? To the first question we may answer that a certain quality of movement characterizes the style of a filmmaker. And to the second, we support Bergson’s theory that the mixture of the mechanical and the living makes it possible to differentiate humorous audio-visual styles. These definitions prove useful to characterize the cinema of Jacques Tati. The filmmaker's gags and his obsession with wide shots allow him to confront social flows that reveal normality to accidents with an overflowing vitality. His style is characterized by the scrupulous introduction of a dissonant movement into a constant stream: an opposing movement, most often acoustic, takes precedence over the monotony of a uniform stream.https://journals.openedition.org/map/2263film analysisaudiovisual styleTatihumour |
| spellingShingle | Jean-Pierre Esquenazi L’humour de Tati Mise au Point film analysis audiovisual style Tati humour |
| title | L’humour de Tati |
| title_full | L’humour de Tati |
| title_fullStr | L’humour de Tati |
| title_full_unstemmed | L’humour de Tati |
| title_short | L’humour de Tati |
| title_sort | l humour de tati |
| topic | film analysis audiovisual style Tati humour |
| url | https://journals.openedition.org/map/2263 |
| work_keys_str_mv | AT jeanpierreesquenazi lhumourdetati |