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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Final published version
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
}
TY - JOUR
T1 - Empathic projection in the films of the Dardenne brothers
AU - Rushton, Richard
N1 - 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
PY - 2014
Y1 - 2014
N2 - 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.
AB - 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.
U2 - 10.1093/screen/hju027
DO - 10.1093/screen/hju027
M3 - Journal article
VL - 55
SP - 303
EP - 316
JO - Screen
JF - Screen
SN - 0036-9543
IS - 3
ER -