Revolutionary Postures: Embodying Rupture in the Films of May 68.
The article explores the significance of gesture and posing in the context of the May 1968 protests in France, particularly through the lens of cinema. It highlights Jacques Willemont's film *La Reprise du travail aux usines Wonder*, which captures the aftermath of the protests and the complexities...
| Publicado en: | Discourse: Journal for Theoretical Studies in Media & Culture Vol. 46; no. 3; pp. 438 - 469 |
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| Formato: | Artículo |
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Wayne State University Press
Fall2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=187697150&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 187697150 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 15225321 NC3 jtl: Discourse: Journal for Theoretical Studies in Media & Culture issn: 15225321 maglogo: N pubinfo: dt: Fall2024 vid: 46 iid: 3 pid: 426 pub: Wayne State University Press artinfo: ui: 187697150 10.1353/dis.2024.a967984 ppf: 438 ppct: 31 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1MB tig: atl: Revolutionary Postures: Embodying Rupture in the Films of May 68. aug: au: Hubbell, Matthew su: France Gesture Social unrest Aesthetics Social dynamics Social movements Motion picture industry sug: subj: Gesture Social unrest Aesthetics Social dynamics Social movements France Motion Picture and Video Production Motion picture and video exhibition Other Motion Picture and Video Industries Motion Picture and Video Distribution Motion picture industry ab: The article explores the significance of gesture and posing in the context of the May 1968 protests in France, particularly through the lens of cinema. It highlights Jacques Willemont's film *La Reprise du travail aux usines Wonder*, which captures the aftermath of the protests and the complexities of worker resistance through a single, impactful scene. The discussion extends to Caroline de Bendern's iconic pose during a mass demonstration, linking her gesture to historical revolutionary imagery while also examining the interplay between body and image in cinematic representation. The analysis emphasizes how these gestures reflect broader social and political dynamics, questioning the relationship between revolutionary action and aesthetic expression. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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