{"title":"面具和欧洲电影","authors":"Virginie Podvin","doi":"10.4467/23538953ce.21.036.15186","DOIUrl":null,"url":null,"abstract":"Mask(s) and European Cinema\n\nThe aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere.","PeriodicalId":133418,"journal":{"name":"Cahiers ERTA","volume":"10 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Masque(s) et cinéma européen\",\"authors\":\"Virginie Podvin\",\"doi\":\"10.4467/23538953ce.21.036.15186\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Mask(s) and European Cinema\\n\\nThe aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere.\",\"PeriodicalId\":133418,\"journal\":{\"name\":\"Cahiers ERTA\",\"volume\":\"10 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-12-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cahiers ERTA\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.4467/23538953ce.21.036.15186\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cahiers ERTA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4467/23538953ce.21.036.15186","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Mask(s) and European Cinema
The aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere.
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