Activities per year
Abstract
The recent films of Luc and Jean-Pierre Dardenne (La promesse, Rosetta, Le fils, L'enfant) gained large critical acclaim (and two Palmes d'Or at the Cannes Film Festival). The most frequently used epitheton to describe their style is 'realist' or even 'naturalist'. How much these films are considered as 'documentary' is proven by the youth unemployment plan that the Belgian government named after the film Rosetta. Critics often refer to Italian neorealism and the Danish Dogma Manifesto in an effort to pin down the brothers' specific approach. I think these references, though maybe partly correct- are too easily used. There is more to it. I try to prove that these films owe as much to the 'realism' of John Cassavetes' and Robert Bresson's oeuvre as to that of Rosselini (Stromboli) and the young Pasolini (Accattone): a carefully constructed representation of a historic/social reality. Using the aforementioned references, but also by analysing story structure, camera handling, editing, and the use of rhythm, I aim to reach a more complex and more carefully balanced appreciation of the work of Luc and Jean-Pierre Dardenne.
Original language | English |
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Pages (from-to) | 216-224 |
Number of pages | 8 |
Journal | Excavatio |
Volume | XXII |
Issue number | 1-2 |
Publication status | Published - 2007 |
Keywords
- Film studies
- Belgian Film
- Jean-Pierre & Luc Dardenne
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Dive into the research topics of 'Realism in the films of the Dardenne brothers: post-neorealism?'. Together they form a unique fingerprint.Activities
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Screenwriting: crossings USA / Europe
Ronald Geerts (Keynote speaker)
8 Feb 2010 → 10 Feb 2010Activity: Talk or presentation › Talk or presentation at a workshop/seminar
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The Films of Joachim Lafosse
Ronald Geerts (Supervisor)
15 Apr 2009Activity: Other › Research and Teaching at External Organisation
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"Contemporary French speaking film in Belgium: an introduction"
Ronald Geerts (Host)
16 Apr 2008Activity: Other › Research and Teaching at External Organisation