LAmour comme au cinéma (Editions 1 - Documents/Actualité) (French Edition)

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Parution le 18 mai Parution le 11 mai Parution le 13 avril Parution le 16 mars Bettencourt Boulevard ou une histoire de France.

A l'occasion de la parution de "chez. Parution le 25 novembre Elle raconte sans reprendre son souffle.

Parution le 18 novembre Parution le 11 novembre Parution le 21 octobre Parution le 14 octobre Parution le 7 octobre Pina de Walter Vogel a obtenu le Prix de la Critique, meilleur ouvrage sur la danse, en Parution le 30 septembre Parution le 23 septembre Parution le 8 juillet Parution le 1er juillet Parution le 24 juin Parution le 27 mai Parution le 20 mai Cette lecture sera suivie d'une discussion avec le public.

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Changement de diffusion et de distribution de L'Arche Editeur. He paved the way for all filmmakers who turned their camera towards Aboriginal peoples in Canada from the s until today. Their films, in addition to their undeniable cinematic qualities, contribute valuable ethnographic documentation. Its mandate was to meet certain propaganda and educational needs, but it was ill-equipped to do so with a minimum of staff while working only in 16mm.

The NFB did not have these constraints, but in the early years it was primarily an anglophone organization. Under the circumstances, Vincent Paquette, Jean Palardy and a few others did heroic work. It achieved its best results when reacting to some specific event; Les Reportages was a noteworthy series that began offering biweekly newsreels in French in September This film helped create a new, vertically-integrated industry, with international contacts and religious support both financial and ideological.

This psychological thriller did not achieve the commercial success the producers had hoped for. The US film industry at the time was in poor shape, and QP had to modify its aspirations and be content with local markets.

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The company therefore drew on the highly popular subject matter of radio dramas for its next three films — Their relative success did inspire several other smaller outfits to produce a total of seven feature films, two of them in English and most of them adapted from theatrical dramas. Paradoxically, two of these became the most famous of the era: Television dealt a fatal blow to an industry made vulnerable by its mediocrity. Today, these films have great value as social documents.

Its films seem to defend the traditional social order, especially the role of the clergy, but a closer look reveals the contrary. A number of brilliant filmmakers joined the NFB during the s: They and the NFB "old-timers" finally had opportunities worthy of their talents. This explosion was the result of three developments. Second, in , public attention focused on francophone filmmakers who were not being given the same opportunities as their anglophone colleagues. The result was that French and English productions were separated administratively and financially, leading ultimately to the creation of a distinct francophone studio.

Third, TV demanded large amounts of material, which meant that both popular entertainment and artistic innovation received as much support as films for government departments and educational institutions e. Filmmakers were also pushing the technological limitations, trying to improve their equipment and its capacity to capture natural sound and images while on location. A documentary genre that merged technological achievements e. This period was one of profound social change. Duplessis died in ; the Liberals came to power in and the Quiet Revolution began.

Les Raquetteurs went beyond picturesque scenes to stress membership in a national community. In , a new era began inside and outside the NFB with two categories documentary and fiction and two films: The former, through its technique and the importance it gave to the spoken word, marked another major step in the development of direct cinema.

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The latter was an example of films being produced by nationalistic filmmakers throughout the world and was a personal statement by Jutra. Groulx's Le Chat dans le sac was one of the best films to that time about petit-bourgeois youth. Ferment and change were occurring in all aspects of the arts, and film forms evolved to meet the needs of the filmmakers. Direct cinema in all its variations, auteur films documentary or docudrama and every genre of commercial film were attempted. Yet direct cinema was not limited to nationalistic subjects. Some producers wanted to use the techniques for social action films.

La consommation cinématographique :

Between Perrault's approach and that of the activist films arose many other forms of direct cinema, united only by their technique and their methods. This kind of film moved steadily to the forefront. Another significant figure in the late s and early s was director-cameraman Labrecque, who had a talent for grasping the mood and significance of an event, and to convey the feeling of having been there.

The documentary movement began to falter at the beginning of the s, partly because some of its practitioners Labrecque, Gosselin, and especially Brault and Groulx were attracted by the possibilities of fiction film. Groulx, on the other hand, went exactly the opposite way in both style and content, offering a clear personal statement for discussion and criticism.

Three features illustrate his methodology: His films illustrated his mastery at integrating documentary and fiction at the editing stage. Fiction moved away from direct cinema and won new adherents for a second reason. In the CFDC was born, and with it avenues of financing.

These two factors opened the way for commercial filmmaking and explain the production boom of the s. This boom in commercial films soon ran into trouble, made even worse by foreign control of the key sectors of distribution.

Some commercial films overcame the problems of quality versus commercial viability. Gilles Carle knew how to lace his films with humour and sex, ideology and social colour, showmanship and stars, making them much more interesting than most of the others in his field.

Que la lumière soit (film, ) — Wikipédia

With his fifth feature, La Vraie Nature de Bernadette , Carle won lasting international acclaim. Un vrai-faux documentaire, un trio amoureux incandescent, un portrait sauvage, un documentaire en blouse blanche Ex super-gendarme, Jean-Michel Chapelain s'est reconverti dans le 7e art. Il fournit uniformes et conseils sur les tournages. Il retracera le quotidien de Dora l'adolescente.

Le distributeur et producteur de battements par minute ne connait pas la crise. Il lance aujourd'hui Le Poirier sauvage. Voir tous les articles.

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