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Essay / Research Paper Abstract
A 3 page research paper that reports on the style of these two Belgian directors. The Dardenne brothers, Jean-Pierre and Luc, of Belgium, began their film careers by producing documentaries for television in the late 1970s (Camhl). Their films La Promesse and Rosetta were motivated by the desire to educate the public as to the "things of the present" (Camhl). In La Promesse, the directors picture a "moral universe in disorder," where a young boy has to make a traumatic choice between loyalty to his father, a black marketeer who exploits immigrant labor, and his own first stirrings of conscience (Camhl). As this suggests, La Promesse is a "moral fable" (Dargis). It is delivered in a neo-realistic style that pictures the adolescent protagonist disobeying his criminally-oriented father in order to aid an illegal immigrant and her child (Dargis). Bibliography lists 4 sources.
Page Count:
3 pages (~225 words per page)
File: D0_khdarden.rtf
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Unformatted sample text from the term paper:
Rosetta were motivated by the desire to educate the public as to the "things of the present" (Camhl). In La Promesse, the directors picture a "moral universe in disorder," where
a young boy has to make a traumatic choice between loyalty to his father, a black marketeer who exploits immigrant labor, and his own first stirrings of conscience (Camhl). As
this suggests, La Promesse is a "moral fable" (Dargis). It is delivered in a neo-realistic style that pictures the adolescent protagonist disobeying his criminally-oriented father in order to aid an
illegal immigrant and her child (Dargis). The "geography" of Rosetta was conceptualized by the director team as a "battlefield," as Jean-Pierre comments, "The town is the front where she
(the protagonist) battles for a job" (Camhl). The trailer park where their heroine lives is the "rear camp" of this "war," where she "eats, sleeps, and tends the wounded," (i.e.,
her alcoholic mother) (Camhl). While Rosetta deals with Belgian society and its realities, the cinematic style of the Dardenne brothers makes it transcend its immediate sociology and speaks of common
human experience (Camhl). The handheld camera work, and "its refusal to provide psychological interpretation, and its "lean, taut" style exemplify the brothers overall approach to filmmaking (Camhl). Rosetta won the
Palme dOr and "best actress" for its star in 1999 (Dargis). The brothers generally share the tasks of both writing and directing on their projects. Jean-Pierre reports that there
is "always one of us in the middle of the crew with the camera and one is with the monitor" (Dargis). In this manner, the brothers work as a team
and it is as a team that they develop nuances of interpretation with the actors even before the crew arrives on the set (Dargis). The Dardenne brothers put this working
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