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Essay / Research Paper Abstract
A 12 page research paper that examines Jean Vigo's film Zero de Conduite (Zero for Conduct) (1933) and Jean Renoir's La Regle du Jeu (Rules of the Game) (1939). The writer argues that these films are two French films that are similar in the manner in which they castigate the rigidity and shallowness of French society. These films are also similar in that each director sums up the meaning of the film in the ending. In each case, the film's tone, symbolism and principal thrust culminate in powerful scenes that convey the director's vision in its entirety. Bibliography lists 6 sources.
Page Count:
12 pages (~225 words per page)
File: D0_khfrfilm.rtf
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Unformatted sample text from the term paper:
that are similar in the manner in which they castigate the rigidity and shallowness of French society. These films are also similar in that each director sums up the meaning
of the film in the ending. In each case, the films tone, symbolism and principal thrust culminate in powerful scenes that convey the directors vision in its entirety. Jean
Vigos Zero for Conduct (1933) There is a distinct surrealist quality about this narrative of schoolboy rebellion. It is a film that takes place primarily within the imaginations of the
schoolboys who are its principal characters (Zero for Conduct, 1995). Each image and scene in the film comes as a surprise, creating a vague sense of disorientation for the viewer,
as if the viewer had wandered into someone elses dream (Buache, 1962). The story portrays the petty tyrannies that characterize the lives of provincial schoolboys. The film opens with a
group of boys returning from vacation on a train. The audience is immediately drawn into their fantasy world of games and illicit activities, such as smoking cigars in the "no
smoking" section and toy balloons that erupt from the boys pockets (Zero for Conduct, 1995). One boy has stuck goose quills all over himself and performs a bizarre pantomime while
another toots a miniature horn through his nose. When they arrive at the station, the boys join the rest of their peers, who are already lined up, and the
school prefect (Louis de Gonzague-Frick), a stony-faced disciplinarian who never smiles or speaks. Also making his first appearance at the train station is a new teacher, Huguet (Jean Daste). He
drops his suitcases as he enthusiastically greets the prefect. He provides the sole exception to the boys preoccupation of mocking and degrading the authority figures at the school. Huguet is
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