Introduction

Introduction

Terrence Malick’s Days of Heaven (1978), Michael Cimino’s Heaven’s Gate (1980) and John Sayles’ Matewan (1987) differ greatly in their cinematographic and aesthetic projects. Yet all share a similar calling into question of the pastoral ideal as the cradle of the American cultural and political i...

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Hlavní autor: Antolin, Pascale
Médium: Article ou chapitre numérique
Jazyk:Français
Vydáno: 2016
On-line přístup:Accès Université d'Orléans et IFPM
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spelling cairn-RFEA_143_0003RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2015-2-page-3?lang=fr https://doi.org/10.3917/rfea.143.0003 Introduction Antolin, Pascale2016 fre Revue française d’études américaines | 143 | 2 | 2016-01-04 | p. 3-9 | 0397-7870 RFEA_14347 Terrence Malick’s Days of Heaven (1978), Michael Cimino’s Heaven’s Gate (1980) and John Sayles’ Matewan (1987) differ greatly in their cinematographic and aesthetic projects. Yet all share a similar calling into question of the pastoral ideal as the cradle of the American cultural and political imagination. Operating on vastly different scales and production contexts, the three movies nonetheless converge towards a rehabilitation of the American pastoral imagination in the disenchanted context of the late 1970s or the triumphant materialism of the Reagan years. What this article examines is how these films reappropriate the pastoral mode as a means of reevaluating an artistic, historic and generic heritage, while challenging narrative and aesthetic practices, ultimately investigating and investing new forms of artistic and political involvements.Cairn free access
language Français
format Article ou chapitre numérique
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description Terrence Malick’s Days of Heaven (1978), Michael Cimino’s Heaven’s Gate (1980) and John Sayles’ Matewan (1987) differ greatly in their cinematographic and aesthetic projects. Yet all share a similar calling into question of the pastoral ideal as the cradle of the American cultural and political imagination. Operating on vastly different scales and production contexts, the three movies nonetheless converge towards a rehabilitation of the American pastoral imagination in the disenchanted context of the late 1970s or the triumphant materialism of the Reagan years. What this article examines is how these films reappropriate the pastoral mode as a means of reevaluating an artistic, historic and generic heritage, while challenging narrative and aesthetic practices, ultimately investigating and investing new forms of artistic and political involvements.
author Antolin, Pascale
spellingShingle Antolin, Pascale
Introduction
author_facet Antolin, Pascale
author_sort Antolin, Pascale
title Introduction
title_short Introduction
title_full Introduction
title_fullStr Introduction
title_full_unstemmed Introduction
title_sort introduction
publishDate 2016
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2015-2-page-3?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.143.0003
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