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Distance and Involvement : Visualising History in Patrice Chéreau's La Reine Margot (1994) and in Éric Rohmer's L'Anglaise et le duc (2001)

Author:

Margriet Hoogvliet

About Margriet
Margriet Hoogvliet is postdoctoral researcher for Sabrina Corbellini's ERC Starting Grant project “Holy Writ and Lay Readers” (University of Groningen). She will publish in the near future several articles on the social history of late medieval readers of the Bible translated into French. Her research interests include the reception of texts and images, as well as the cultural history of cartography during the late Middle Ages and the sixteenth century. She is the author of Pictura et scriptura: textes, images et herméneutique des mappae mundi (XIIIe-XVIe s.) (Terrarum Orbis 7) (2007) and she has edited Multi-Media Compositions from the Late Middle Ages to the Early Modern Period (2004).
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Résumé

This article analyses strategies of visualisation of the past in two French films d'histoire: La Reine Margot (1994) by directed by Patrice Chéreau and L'Anglaise et le duc (2001) by Éric Rohmer. Both films have modern political and societal implications: Chéreau's film contains several clear hints towards a reading of the “greatest massacre” of France's past as a critique of the modern era, while Rohmer rather wanted to make his audience aware of the ambiguities of the founding period of the French Republic. However, the two film directors have made use of completely different strategies for visualising the past and in order to involve their audiences: Chéreau by making a conscious use of visual anachronisms and Rohmer by a scrupulous reconstruction of a painterly historical vision.
DOI: http://doi.org/10.18352/relief.761
How to Cite: Hoogvliet, M., (2012). Distance and Involvement : Visualising History in Patrice Chéreau's La Reine Margot (1994) and in Éric Rohmer's L'Anglaise et le duc (2001). RELIEF - REVUE ÉLECTRONIQUE DE LITTÉRATURE FRANÇAISE. 6(1), pp.66–79. DOI: http://doi.org/10.18352/relief.761
Publié le 09 Oct 2012.
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