Claude Chabrol's cinema is generally associated with a specific type of psychological thriller, one set in the French provinces and fascinated with murder, incest, fragmented families, unstable spaces and inscrutable female characters. But Chabrol's films are both deceptively accessible and deeply reflexive, and in this innovative reappraisal of his filmography Catherine Dousteyssier-Khoze explores the Chabrol who was influenced by Balzac, Magritte and Stanley Kubrick. Bringing to the fore Chabrol's 'aesthetic of opacity', the book deconstructs the apparent clarity and comfort of his chosen genre, encouraging the viewer to reflect on the relationship between illusion and reality, and the status of the film image itself.
Rezensionen / Stimmen
Seven years after his death, this is a timely appraisal of Chabrol's work. Dousteyssier-Khoze shows how Chabrol is more indebted to Balzac than we may have thought. She deftly navigates his serial killers, and shows how Deleuze's crystal-image and Foucault's heterotopia can illuminate Chabrol's manipulation of space and time. -- Professor Phil Powrie, University of Surrey
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
10 black and white illustrations
Maße
Höhe: 239 mm
Breite: 163 mm
Dicke: 15 mm
Gewicht
ISBN-13
978-0-7486-9260-6 (9780748692606)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Catherine Dousteyssier-Khoze is Reader in French at Durham University. She specializes in (19th-century) French literature and French film. She is also the author of a debut novel, La logique de l'amanite (Grasset, 2015).
Autor*in
Reader in FrenchDurham University
List of illustrations
Acknowledgements
Introduction
Chapter 1: Contexts and Influences
Chapter 2: Chabrol and Genres
Chapter 3: The Human Beast
Chapter 4: Family Secrets
Chapter 5: Chabrolean spaces as heterotopias of crisis
Chapter 6: Through the Looking Glass: Chabrol's 'crystal-image'
Conclusion: Towards an Aesthetics of Visual Opacity
