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Allmer argues that there is more depth to cinema du look than that, saying that these directors are reclaiming the art that the capitalistic … Continue reading Critical Essays, Mise-en-scène is a critical element within all film, but particularly within cinema du look. Critics of the genre are known to argue that the films of cinema du look have no substance but rather focus only on style, taking a pro-advertising, ultra-capitalistic stance. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Special mention has to be given to the moped chase through the Paris metro, which retains its intensity to this day.

Film is already a majorly visual art, but Cinema du Look, a French movement of the 1980’s and 90’s, is said to take stylistic and pleasing aesthetics over a deeper message. Cinema du Look is known for typically placing the spectacle and style of the film above other aspects, such as themes and the plot. Lighting, color, and props all play significant roles in Léon: The Professional, Boy Meets Girl, and Diva; in fact, these roles could be considered more important than the actors themselves.. Cinéma du look (French: [sinema dy luk]) was a French film movement of the 1980s and 1990s, analysed, for the first time, by French critic Raphaël Bassan in La Revue du Cinéma issue n° 448, May 1989,[1] in which he classified Luc Besson, Jean-Jacques Beineix and Leos Carax as directors of the "look". He had already made waves in 1983 with the post-apocalyptic Le Dernier Combat, but Subway marked the moment when the Luc Besson train really pulled into the station. Contrast of innocence and corruption in Mathilda. The leaders of this era were well known for favoring style over substance, spectacle over narrative, and all shared and perfected this “look”. The black and white photography by Jean-Yves Escoffier is as luxurious as one of his namesake’s Peach Melbas and Carax’s love of movies is stitched through every gloriously monochrome frame. [3], French filmmakers were inspired by New Hollywood films (most notably Francis Ford Coppola's One from the Heart and Rumble Fish), late Fassbinder films (Lola), as well as television commercials, music videos, and fashion photography. ( Log Out /  Doomed young love between Mathilda and Léon. They also didn’t care so much about the context or substance of the film, but rather the visuals and style.

Films of this period had a slick visual style and focused on the marginalized youth of France. These films, made with a slick commercial style and emphasizing the alienation of their main characters, was known as Cinema du look. Key filmmakers: Jean-Jacques Beineix, Luc Besson, Leos Carax. This still … Continue reading “Diva” Still, “Window Shopping”? This is merely the coat-hanger over which a multi-coloured dreamcoat is hung – a visual poem about the brain-wrecking trauma of falling madly in love, made by a director so clearly in love with cinema that you can feel the celluloid being hugged. The movie was gorgeous, it had so many beautiful consecutive shots. The movie starts light but just continuously goes in a downward spiral. Carax revels in Godardian coolness but undercuts it with raw vulnerability. Cinéma du look (French: [sinema dy luk]) was a French film movement of the 1980s and 1990s, analysed, for the first time, by French critic Raphaël Bassan in La Revue du Cinéma issue n° 448, May 1989,[1] in which he classified Luc Besson, Jean-Jacques Beineix and Leos Carax as directors of the "look". Mise-en-scène is a critical element within all film, but particularly within cinema du look. Cinema du Look was a French film movement from the 1980s into the 1990s. [3] It referred to films that had a slick, gorgeous visual style[3] and a focus on young, alienated characters[4] who were said to represent the marginalized youth of François Mitterrand's France. Cinema Du Look was lead by three directors: Luc Besson, Jean-Jacques Beineix, and Leos Carax. His initial success coincided with the rise of two other French directors who shared Besson’s gift for capturing the rebel-yell of disaffected youth. Bright, bold and as stylish as an Armani commercial, their work was dismissed by the French critical aristocracy as empty, vacuous apolitical rock-videos. Indeed, he evidently takes great pleasure in insulting those who seek to dictate and control the critical consensus. Privacy Policy (http://www.tasteofcinema.com/privacy-notice-and-cookies/) Theme by, Taste of Cinema - Movie Reviews and Classic Movie Lists, 10 Essential Films For An Introduction To Cinema du Look. Under this government, support for new films was stronger than ever, which was crucial for a declining industry.

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