Cinema/history: Philippe Garrel, Bernardo Bertolucci and May 1968

Show simple item record

dc.contributor.author Leonard, Michael en
dc.date.accessioned 2012-08-02T14:50:15Z
dc.date.available 2012-08-02T14:50:15Z
dc.date.issued 2011 en
dc.identifier.citation Leonard, M. (2011) 'Cinema/history: Philippe Garrel, Bernardo Bertolucci and May 1968', Alphaville: Journal of Film and Screen Media, 1 (Summer 2011). doi: 10.33178/alpha.1.07 en
dc.identifier.issued 1 en
dc.identifier.startpage 1 en
dc.identifier.endpage 16 en
dc.identifier.issn 2009-4078 en
dc.identifier.uri http://hdl.handle.net/10468/655
dc.identifier.doi 10.33178/alpha.1.07
dc.description.abstract This article compares the engagement with the history of May 1968 in Philippe Garrel’s Les Amants réguliers/Regular Lovers (2005)and Bernardo Bertolucci’s The Dreamers (2004). Through a close study of both films, it demonstrates how Garrel finds a more nuanced and transformative aesthetic than Bertolucci in representing this defining moment in modern French culture and politics. The films share a number of aspects; most notably, they draw upon the history of cinema itself in recalling this period, an approach that can be related to Godard’s project in Histoire(s) du Cinéma (1988-1998). However, their differing approaches to cinematographic citation (metonymic in the case of Bertolucci, and metaphoric in the case of Garrel) have significant implications for the temporal dynamics of each film. The article argues that Bertolucci’s method is intrinsically conservative—reactionary, even—implying an historical linearity that reinforces the “pastness” of May, its significance as a piece of “heritage” rather than part of an ongoing historical process, or dialectic. Garrel’s practice of citation, by contrast, generates a more radical, heterochronous form that constitutes a testimony to May 1968 by evoking its continued presence. In the course of its discussion, the article also reflects on the relationship between Les Amants réguliers and the nouvelle vague, exploring in particular the relations between this film and Jacques Rivette’s Paris nous appartient (1961). en
dc.format.mimetype application/pdf en
dc.publisher Film Studies, University College Cork en
dc.relation.uri http://www.alphavillejournal.com/Issue%201/ArticleLeonard.html en
dc.rights © 2011, The Author(s) en
dc.subject Metonymy in film en
dc.subject.lcsh Nineteen sixty-eight, A.D. en
dc.subject.lcsh France--History--1958- en
dc.subject.lcsh Riots--France--Paris en
dc.subject.lcsh Metaphor in motion pictures en
dc.title Cinema/history: Philippe Garrel, Bernardo Bertolucci and May 1968 en
dc.type Article (peer-reviewed) en
dc.internal.authorcontactother Michael Leonard, Queen’s University Belfast en
dc.internal.availability Full text available en
dc.description.version Published Version en
dc.description.status Peer reviewed en
dc.identifier.journaltitle Alphaville: Journal of Film and Screen Media en
dc.identifier.journalabbrev Alphaville


Files in this item

This item appears in the following Collection(s)

Show simple item record

This website uses cookies. By using this website, you consent to the use of cookies in accordance with the UCC Privacy and Cookies Statement. For more information about cookies and how you can disable them, visit our Privacy and Cookies statement