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    Rights statement: This is a pre-copy-editing, author-produced PDF of an article accepted for publication in Screen. The definitive publisher-authenticated version Rushton, Richard Empathtic projection in the films of the Dardenne brothers Screen 2014 55, (3) 303-316 is available online at: http://screen.oxfordjournals.org/content/55/3/303

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Empathic projection in the films of the Dardenne brothers

Research output: Contribution to journalJournal articlepeer-review

Published
<mark>Journal publication date</mark>2014
<mark>Journal</mark>Screen
Issue number3
Volume55
Number of pages14
Pages (from-to)303-316
Publication StatusPublished
<mark>Original language</mark>English

Abstract

The analysis of cinematic style in the films of the Dardenne brothers has primarily focused on the combination of realism and ethics. This paper instead focuses on the combination of realist and modernist styles in certain aspects of the Dardennes’ films. The emphasis is on two particular stylistic traits: first, the use of a medium distance two-shot, and second, the use of a back-and-forth handheld camera movement used typically in conversation scenes. These techniques are taken up in relation to what philosopher Stanley Cavell has called ‘empathic projection’, a term recently used by art historian Michael Fried in relation to art and cinema. It is the combination of realist and modernist styles that gives rise to the spectator's projection of empathic feeling onto or into characters in the films of the Dardenne brothers.

Bibliographic note

This is a pre-copy-editing, author-produced PDF of an article accepted for publication in Screen. The definitive publisher-authenticated version Rushton, Richard Empathtic projection in the films of the Dardenne brothers Screen 2014 55, (3) 303-316 is available online at: http://screen.oxfordjournals.org/content/55/3/303