Vincent Amiel, Gilles Mouëllic and José Moure (ed.)

Presses universitaires de Rennes / 2016

Breaking a film down into shots (découpage), which today is seen as the basis of film art, is paradoxically one of its least studied elements. How was découpage carried out; what is its connection to the script, to mise en scène, to editing? What role can we attribute to it in the construction of a film, and in which kinds of cinema? To what extent has découpage survived today, and in what form? This volume draws on film history, the history of film theory and aesthetics, the history of form and cultural history to reconstruct this concept.