La sociocritique d'Edmond Cros

A Sociocritical Reading of a news item

Edmond Cros — 2016-11-25T15:52:28Z

American Films of the Thirties - The Case of Howard Hawks's Scarface III

Edmond Cros — 2009-12-21T10:22:10Z

These economic determinants are, however, not the only ones worth mentioning, Higham notes two other factors that are part of the superstructure. (1) The shock of foreign cultural models. In contrast to the first wave of immigra-tion, which was predominantly Protestant and British, the second wave, extending from 1820 to the National Act of 1924, was much more heterogeneous: it consisted largely of southern European Catholics. This second wave played an important role in the shaping of an (…)

- Practice / Phenotext

American Films of the Thirties- The Case of Howard Hawks'Scarface II

Edmond Cros — 2009-12-21T10:21:36Z

In a first approach to Scarface I had reconstructed the semiotic system of the initial se-quences of the film before proposing the outlines of a sociocritical reading. The problemat-ics that have emerged may now be submitted to new analyses conducted from perceptibly different and, for that very reason, complementary points of view. Our point of departure is the major semiotic text that emerged from our analysis, namely, the polarity of hiding and unmasking, which seems to run through the (…)

- Practice

American Films of the Thirties - The case of Howard Hawks's - I-Scarface e

Edmond Cros — 2009-11-13T17:41:23Z

I- Toward a Semiological Reading of Film
Study of Sequences
SCARFACE (dialogue and shooting script)* Street scene at night Medium close-up of the globe of a lighted lamp-post, in a low-angle shot; beneath the globe, a sign indicating “22^nd Street.” The camera moves back, and a horse-drawn deliv-ery van comes into view, stopped in a dark, deserted street; then the camera goes around the vehicle. Next we see that the delivery van is stopped in front of a nightclub with its windows still (…)

- Practice