University of Hertfordshire

'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'

Research output: Contribution to conferencePaperpeer-review

Standard

'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'. / Broughton, Mark.

2012. Paper presented at 38th Annual Association of Art Historians Conference, Milton Keynes, United Kingdom.

Research output: Contribution to conferencePaperpeer-review

Harvard

Broughton, M 2012, ''The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'', Paper presented at 38th Annual Association of Art Historians Conference, Milton Keynes, United Kingdom, 29/03/12 - 31/03/12.

APA

Broughton, M. (2012). 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'. Paper presented at 38th Annual Association of Art Historians Conference, Milton Keynes, United Kingdom.

Vancouver

Broughton M. 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'. 2012. Paper presented at 38th Annual Association of Art Historians Conference, Milton Keynes, United Kingdom.

Author

Broughton, Mark. / 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'. Paper presented at 38th Annual Association of Art Historians Conference, Milton Keynes, United Kingdom.

Bibtex

@conference{18f93d27f6584a769190f4b0963022b4,
title = "'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'",
abstract = "By analysing the way four Rodin sculptures are shot and woven into the film's narrative, this paper opens up questions about the way the film reflects on history, storytelling and the materiality of film. At the same time, the paper considers the label {\textquoteleft}epilogue{\textquoteright} and how this sequence compares with other cinematic epilogues. My exegesis of Truffaut{\textquoteright}s use of a sculptural garden location is supported by secondary-source research on: Truffaut{\textquoteright}s oeuvre; the history of epilogues in cinema; sculpture in film; the history of sculpture; and the history of the Rodin museum{\textquoteright}s garden. While the film has been discussed by French and Anglophone Truffaut specialists in relation to his oeuvre, it has not been examined in relation to other contexts. My paper breaks new ground both in comparing the film to key 1960s cinema by other directors and in its emphasis on sculpture in cinema. There has been very little attention in film studies to the presence of sculpture in fictional films{\textquoteright} mise-en-sc{\`e}ne.",
keywords = "Truffaut, Rodin, Sculture, Sculptual Film, Epilogue, Intermediality, Intertextiality, Reflexivity",
author = "Mark Broughton",
note = "Mark Broughton, 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent{\textquoteright}, paper presented at the 38th Annual Association of Art Historians Conference, Milton Keynes, 29-31 March, 2012. ; 38th Annual Association of Art Historians Conference ; Conference date: 29-03-2012 Through 31-03-2012",
year = "2012",
month = mar,
day = "31",
language = "English",

}

RIS

TY - CONF

T1 - 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent'

AU - Broughton, Mark

N1 - Mark Broughton, 'The Rodin Time Machine: Sculptural Moments in Les Deux Anglaises et le Continent’, paper presented at the 38th Annual Association of Art Historians Conference, Milton Keynes, 29-31 March, 2012.

PY - 2012/3/31

Y1 - 2012/3/31

N2 - By analysing the way four Rodin sculptures are shot and woven into the film's narrative, this paper opens up questions about the way the film reflects on history, storytelling and the materiality of film. At the same time, the paper considers the label ‘epilogue’ and how this sequence compares with other cinematic epilogues. My exegesis of Truffaut’s use of a sculptural garden location is supported by secondary-source research on: Truffaut’s oeuvre; the history of epilogues in cinema; sculpture in film; the history of sculpture; and the history of the Rodin museum’s garden. While the film has been discussed by French and Anglophone Truffaut specialists in relation to his oeuvre, it has not been examined in relation to other contexts. My paper breaks new ground both in comparing the film to key 1960s cinema by other directors and in its emphasis on sculpture in cinema. There has been very little attention in film studies to the presence of sculpture in fictional films’ mise-en-scène.

AB - By analysing the way four Rodin sculptures are shot and woven into the film's narrative, this paper opens up questions about the way the film reflects on history, storytelling and the materiality of film. At the same time, the paper considers the label ‘epilogue’ and how this sequence compares with other cinematic epilogues. My exegesis of Truffaut’s use of a sculptural garden location is supported by secondary-source research on: Truffaut’s oeuvre; the history of epilogues in cinema; sculpture in film; the history of sculpture; and the history of the Rodin museum’s garden. While the film has been discussed by French and Anglophone Truffaut specialists in relation to his oeuvre, it has not been examined in relation to other contexts. My paper breaks new ground both in comparing the film to key 1960s cinema by other directors and in its emphasis on sculpture in cinema. There has been very little attention in film studies to the presence of sculpture in fictional films’ mise-en-scène.

KW - Truffaut

KW - Rodin

KW - Sculture

KW - Sculptual Film

KW - Epilogue

KW - Intermediality

KW - Intertextiality

KW - Reflexivity

M3 - Paper

T2 - 38th Annual Association of Art Historians Conference

Y2 - 29 March 2012 through 31 March 2012

ER -