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date: 19 November 2017

Abstract and Keywords

One of the defining thematic preoccupations in the fiction filmmaking of Philippe Grandrieux, one of the leading figures in French Art Cinema, is that of the politics of property. In Sombre, La Vie Nouvelle, and Un Lac, the relationship dynamics between a woman and a variety of agents competing to claim her are mapped out in the overlap between different registers of space. This overlap opens up complex dynamics between differing spatial practices that are evident within Grandrieux’s narratives and the stylistics with which he shapes them, breaking down conventional understanding of the distance between screen and audience. This chapter argues that one cannot account for the richness of spatial practice in these films without attention to the representation of acoustic space. Drawing on recent concepts in sound studies and critical geography, and expanding upon the literature on Grandrieux’s work, the author focuses on instances of spatial delineation that defines elements of owned property in each of these films.

Keywords: filmmaking, sound studies, Philippe Grandrieux, acoustic space, French Art Cinema, property, Sombre, La Vie Nouvelle, Un Lac

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