Nostalgia and digital technology: The Gleaners and I (Varda, 2000) and The Triplets of Belleville (Chomet, 2003) as reflective genres.
An ironic tension between nostalgia and digital technology permeates Les Glaneurs et la glaneuse and Les Triplettes de Belleville. Both films are political and critical: Varda denounces excess, waste and frivolous behaviour in the contemporary world, while Chomet expresses dissatisfaction with moder...
| Publicado en: | Studies in French Cinema Vol. 5; no. 3; pp. 219 - 230 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2005
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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=hlh&AN=20573425&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 20573425 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 14715880 L2I jtl: Studies in French Cinema issn: 14715880 maglogo: N pubinfo: dt: 2005 vid: 5 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 20573425 10.1386/sfci.5.3.219/1 ppf: 219 ppct: 11 formats: fmt: @attributes: type: P size: 110KB tig: atl: Nostalgia and digital technology: The Gleaners and I (Varda, 2000) and The Triplets of Belleville (Chomet, 2003) as reflective genres. aug: au: Fauvel, Maryse affil: College of William and Mary su: Nostalgia Digital media Gleaners & I, The (Film) Triplets of Belleville, The (Film) Digital cinematography Film genres sug: subj: Nostalgia Digital media Gleaners & I, The (Film) Triplets of Belleville, The (Film) Digital cinematography Film genres keyword: cartoon film digital technology documentary nostalgia recycling reflective genre ab: An ironic tension between nostalgia and digital technology permeates Les Glaneurs et la glaneuse and Les Triplettes de Belleville. Both films are political and critical: Varda denounces excess, waste and frivolous behaviour in the contemporary world, while Chomet expresses dissatisfaction with modernity in France. They both recall the past, but acknowledge the impossibility of indulging in nostalgia. Digital technology is foregrounded in both films, and allows Varda and Chomet to offer reflective manifestos, respectively for documentaries and cartoons, in which they highlight a reflection on the world order, on the medium of film, and on specific genres of films. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Studies in French Cinema is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Studies in French Cinema holder: Taylor & Francis Ltd dt: @attributes: year: 2005 holdings: @attributes: islocal: N |
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