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Journal articles on the topic 'Dardennes Brothers'

Author: Grafiati

Published: 22 June 2024

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1

Wheatley, Catherine. "The Third City: The Post Secular Space of the Dardenne Brothers' Seraing." Film-Philosophy 23, no. 3 (2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.

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Set principally in or around Seraing, an industrial region in decline just outside of Liège, in Belgium, the films of Jean-Luc and Pierre Dardenne marry geographical and historical-social realism with a series of ethical inquiries into such topics as immigration, unemployment, black market trading and petty crime. To date, critical commentary on the films has tended mainly to read the work of the Dardennes along two lines. The dominant approach uses the work of Emmanuel Levinas as a philosophical touchpoint in order to illuminate the ethical dimension of the Dardenne brothers' films. The secon

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2

Yang, Hyunjin. "Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ “Le fils”." Korean Association for Literacy 14, no. 1 (2023): 473–89. http://dx.doi.org/10.37736/kjlr.2023.02.14.1.473.

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Normally, in many situations, life demands pardon and being forgiven. But, in some situation forgiveness is impossible and is considered as being contrary to justice. Forgiveness is moral dilemma. Many questions why immoral and brutal victimizer should be forgiven, how to forgive and when to forgive etc. follow forgiveness. Arguments in favor of and against forgiveness conflict sharply. There is no one exact meaning of forgiveness. Whenever forgiveness is needed there should be different thinking and action accordingly. The major stem of the way Dardenne Brothers understand problems of forgive

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3

Cho, Chang-Yeol. "Film Acting Method of Dardenne Brothers." Journal of the Korea Entertainment Industry Association 16, no. 3 (2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.

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4

Jungbum Shin. "A Study of the Dardenne Brothers’ Cinema Space." journal of the moving image technology associon of korea 1, no. 21 (2014): 153–67. http://dx.doi.org/10.34269/mitak.2014.1.21.008.

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5

Cooper, Sarah. "Mortal Ethics: Reading Levinas with the Dardenne Brothers." Film-Philosophy 11, no. 2 (2007): 66–87. http://dx.doi.org/10.3366/film.2007.0011.

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6

Ahn, Soong-Beum. "Meaning of 'Labor' and Aesthetic in Dardenne Brothers' Films." Journal of the Korea Contents Association 12, no. 9 (2012): 93–105. http://dx.doi.org/10.5392/jkca.2012.12.09.093.

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7

Dillet, Benoit, and Tara Puri. "Left-over Spaces: The Cinema of the Dardenne Brothers." Film-Philosophy 17, no. 1 (2013): 367–82. http://dx.doi.org/10.3366/film.2013.0021.

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8

Rushton, R. "Empathic projection in the films of the Dardenne brothers." Screen 55, no. 3 (2014): 303–16. http://dx.doi.org/10.1093/screen/hju027.

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9

Oh, Bobae. "The Language-Image of the Dardenne Brothers Representing Solidarity: Focusing on Their Film, Deux jours, une nuit." Hankuk University of Foreign Studies Literature Studies 90 (May 31, 2023): 85–104. http://dx.doi.org/10.22344/fls.2023.90.85.

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The film by Jean-Pierre et Luc Dardenne, Deux jours, une nuit (2014), shows the dilemma experienced by workers and their solidarity within an inhuman game based on the logic of capitalism. This film is characterized by the active use of language-image as well as words, language-text, which concretely describe the marginalization of the weak in contemporary society, the isolation of workers, and the hostility to each other reinforced by the capitalist system. The frames partitioned by the lines, colors or materials aroud the characters describe also the solidaristic landscapes, quietly deployed

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10

Park, Eun-Jee. "The politics of friendship and paternity: The Dardenne brothers’ Rosetta." Studies in French Cinema 12, no. 2 (2012): 137–49. http://dx.doi.org/10.1386/sfc.12.2.137_1.

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11

Gills, Melina. "Book Review: The Cinema of the Dardenne Brothers: Responsible Realism." Film Quarterly 67, no. 1 (2013): 82–84. http://dx.doi.org/10.1525/fq.2013.67.1.82.

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12

Herbeck, Mariah Devereux. "The Cinema of the Dardenne Brothers: Responsible Realism by Philip Mosley." French Review 87, no. 3 (2014): 242. http://dx.doi.org/10.1353/tfr.2014.0370.

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13

Caruana, John. "The Dardenne Brothers and the Invisible Ethical Drama: Faith without Faith." Religions 7, no. 5 (2016): 43. http://dx.doi.org/10.3390/rel7050043.

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14

Campillo, Margarita, Juan Sáez, and Andrés Zaplana. "Nuevos lenguajes fílmicos en la vieja Europa: el cine social de los hermanos Dardenne." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 97–121. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5911.

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Resumen:Las películas de los hermanos Dardenne son documentos vivos, poblados de perso-najes marginales y excluidos, que ofrecen enormes posibilidades para reflexionar desde múltiples espacios educativos. Su obra presenta un reconocido estilo personal autoral, tanto en la forma como en las historias que aborda, susceptible de análisis y profundización. Adentrarse en ella y bucear su estilo narrativo es el objetivo de este estudio. Para materializarlo se esboza, al inicio, la tradición europea creadora de nuevas formas de expresión fílmica a lo largo del siglo XX -desde el naturalismo poético f

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15

Yang, Hyunjin. "Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ Films." Korean Society of Culture and Convergence 43, no. 3 (2021): 403–24. http://dx.doi.org/10.33645/cnc.2021.03.43.3.403.

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16

McAteer. "Facing the Responsibility of Parenthood in the Films of the Dardenne Brothers." Soundings: An Interdisciplinary Journal 103, no. 3 (2020): 346. http://dx.doi.org/10.5325/soundings.103.3.0346.

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17

Mai, Joseph. "Lorna's Silenceand Levinas's ethical alternative: form and viewer in the Dardenne Brothers." New Review of Film and Television Studies 9, no. 4 (2011): 435–53. http://dx.doi.org/10.1080/17400309.2011.606532.

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18

Кунгуров, Ю. М. "“The Silence of Waiting, the Silence of Living: Why the Dardenne Brothers’ Refusal to Use Music Made Their Films More Musical”." Музыкальная академия, no. 4(784) (December 21, 2023): 20–29. http://dx.doi.org/10.34690/339.

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Статья посвящена вопросам звукового оформления фильмов бельгийских режиссеров Жан-Пьера и Люка Дарденнов. В ней рассматриваются причины, как этические, так и стилистические, отказа братьев Дарденн от использования закадровой музыки, от аудиального комментария к визуальному ряду. Ключевые эпизоды большинства их фильмов идут в сопровождении естественных звуков, тогда как саундтрек лимитирован или отсутствует — и это принципиально важно для понимания творческого метода режиссеров. В статье анализируется ряд сцен из фильмов, репрезентирующих такой подход к звуку. Более подробно рассмотрены знаков

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19

Pippin, Robert. "Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers." Critical Inquiry 41, no. 4 (2015): 757–85. http://dx.doi.org/10.1086/681785.

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20

Beausoleil, Emily. "The political space of art: The Dardenne brothers, Arundhati Roy, Ai Weiwei, and Burial." Contemporary Political Theory 16, no. 3 (2017): 409–12. http://dx.doi.org/10.1057/s41296-016-0021-y.

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21

Trahair, Lisa. "Belief in this World: The Dardenne brothers’ The Son and Søren Kierkegaard’s Fear and Trembling." SubStance 45, no. 3 (2016): 98–119. http://dx.doi.org/10.1353/sub.2016.0031.

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22

Jeong, Seung-hoon. "From 'face-to-face' to 'side-by-side': The abject neighbour in European cinema." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (2020): 53–67. http://dx.doi.org/10.1386/nl_00013_1.

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Abstract The Dardenne brothers' The Promise (1996) and Fatih Akin's The Edge of Heaven (2007) depict non-western migrants in western Europe as the social 'abject' in the background of multicultural conflicts between global (Christian) Europe and its (Islamic) periphery. Also, both share a motif based on the Abraham‐Isaac story. Abraham's sacrifice of Isaac epitomizes one's singular relationship with God beyond community (Kierkegaard, Marion, Derrida), but the Abraham figures in the films give themselves to the abject Isaac figures through self-abjection. This becoming-abject as an existential

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23

Kim, Soyoung. "Dialectical hegemony in the Dardenne brothers’ cinematic real space, ‘Labor Field’: Focusing on Rosetta and Deux jours, une nuit." Film Studies 90 (December 31, 2021): 71–96. http://dx.doi.org/10.17947/fs.2021.12.90.71.

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24

Scott, Jason. "From Local Roots to Global Screens: Shane Meadows’ Positioning in the Ecology of Contemporary British Film." Journal of British Cinema and Television 10, no. 4 (2013): 829–45. http://dx.doi.org/10.3366/jbctv.2013.0182.

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This article provides a case study of the ecology of British independent film, as illustrated through the continuing career of Shane Meadows. I focus on the intersection between the practices of economic independence and creative independence, ameliorated by low-budget, local films that exploit festival showcasing and critical buzz to achieve international exhibition in a range of markets. While Meadows’ earlier films exemplify the reliance on television funding that has characterised British and continental European cinema since the 1980s, and the emerging significance of regional and Lottery

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25

민병훈. "The research on the similarity between the films of Robert Bresson and ones of Dardenne Brothers -focused on the directing style shown in the 'Mouchette' and 'Rosetta'-." Film Studies ll, no. 43 (2010): 169–98. http://dx.doi.org/10.17947/kfa..43.201003.006.

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26

"The Dardenne Brothers’ Cinematic Parables: Integrating Theology, Philosophy, and Film." Journal of Religion & Film 27, no. 1 (2023). http://dx.doi.org/10.32873/uno.dc.jrf.27.01.53.

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27

Smith, Matthew. "Precarity, Liminality, mobility: childhood in the cinema of the Dardenne Brothers." Studies in European Cinema, April 4, 2024, 1–15. http://dx.doi.org/10.1080/17411548.2024.2333130.

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28

"Fetish, Sacrifice and Tragic Freedom in the Dardenne Brothers' La Promesse." April 2016 20, no. 2 (2016). http://dx.doi.org/10.32873/uno.dc.jrf.20.02.39.

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29

Botha, Martin P. "Flemish Cinema and Film Culture through South African Eyes." Kinema: A Journal for Film and Audiovisual Media, November 20, 2007. http://dx.doi.org/10.15353/kinema.vi.1154.

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THE HERITAGE OF FILM: PERSPECTIVE ON FLEMISH CINEMA AND FILM CULTURE THROUGH SOUTH AFRICAN EYES I assisted the Locarno Film festival in 2005 with a retrospective of short films by young South African directors. There I met a very talented, young Flemish director, whose film was by far the best in the one section.(1) It moved me immensely with its honest portrait of alienation and racial discrimination. We had a long discussion on film history, aesthetics and film cultures. We also talked about the history of film in Belgium and it was noted that while the French speaking side of Belgian cinema

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