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Journal articles on the topic 'Dardennes Brothers'

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Published: 22 June 2024

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1

Wheatley, Catherine. "The Third City: The Post Secular Space of the Dardenne Brothers' Seraing." Film-Philosophy 23, no. 3 (October 2019): 264–81. http://dx.doi.org/10.3366/film.2019.0116.

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Set principally in or around Seraing, an industrial region in decline just outside of Liège, in Belgium, the films of Jean-Luc and Pierre Dardenne marry geographical and historical-social realism with a series of ethical inquiries into such topics as immigration, unemployment, black market trading and petty crime. To date, critical commentary on the films has tended mainly to read the work of the Dardennes along two lines. The dominant approach uses the work of Emmanuel Levinas as a philosophical touchpoint in order to illuminate the ethical dimension of the Dardenne brothers' films. The second considers the political dimensions of their films. However a third, related body of writing has emerged in later years, one which understands in terms of their relation to what Jürgen Habermas (2006) , amongst others, has dubbed the postsecular age. This article locates the Dardennes' films at the intersection between the ethical, the political, and the postsecular, looking to the theologically-inflected philosophy of Gillian Rose to make the case that Seraing serves as the model of what Rose refers to as “the third city” – a postsecular site which challenges easy divisions between politics and ethics. As such Seraing is not, I shall argue, a mere staging post for the moral, political and spiritual problems posed by the films, but its cradle. Paying particular attention to the Dardennes' film Two Days, One Night (Deux Jours, Une Nuit, 2014) I demonstrate what an engagement that turns on existence with and within the city – an engagement that is both political and ethical – might look like.
2

Yang, Hyunjin. "Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ “Le fils”." Korean Association for Literacy 14, no. 1 (February 28, 2023): 473–89. http://dx.doi.org/10.37736/kjlr.2023.02.14.1.473.

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Normally, in many situations, life demands pardon and being forgiven. But, in some situation forgiveness is impossible and is considered as being contrary to justice. Forgiveness is moral dilemma. Many questions why immoral and brutal victimizer should be forgiven, how to forgive and when to forgive etc. follow forgiveness. Arguments in favor of and against forgiveness conflict sharply. There is no one exact meaning of forgiveness. Whenever forgiveness is needed there should be different thinking and action accordingly. The major stem of the way Dardenne Brothers understand problems of forgiveness is the belief in the universal human rationality. So, dutiful feature of forgiveness and impossibility of forgiveness clash more vehemently. Victims are urged by universal rationality to forgive and victimizers’ unlucky environments work as excuses for their wrongdoings and the excuses hider them from seeking forgiveness to lessen the burden of misdeed. Therefore, in Dardenne Brothers’ films, forgiveness is not related with the practical usefulness of mending victims and securing victims’ welfare and the background of forgiveness is not made through immature resonance with and compassion for victimizers. For victims to proceed to forgive, moral anger is needed which enables victims look straightly the injustice and unfairness of affliction and confront objective interpretation of their injury. Moral anger does not aim self-eliminating forgiveness which feeble and forceless victims inevitably are forced to choose but aims forgiveness of humanity companionship and recovery. Dardenne Brothers’ films have challenging dilemma narrative of forgiveness which has well-plotted plausibility, correct unilateral and naïve understanding of forgiveness and renew our understanding of human values and social justice. These features make Dardenne Brothers’ films valuable.
3

Cho, Chang-Yeol. "Film Acting Method of Dardenne Brothers." Journal of the Korea Entertainment Industry Association 16, no. 3 (April 30, 2022): 77–90. http://dx.doi.org/10.21184/jkeia.2022.4.16.3.77.

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4

Jungbum Shin. "A Study of the Dardenne Brothers’ Cinema Space." journal of the moving image technology associon of korea 1, no. 21 (December 2014): 153–67. http://dx.doi.org/10.34269/mitak.2014.1.21.008.

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5

Cooper, Sarah. "Mortal Ethics: Reading Levinas with the Dardenne Brothers." Film-Philosophy 11, no. 2 (June 2007): 66–87. http://dx.doi.org/10.3366/film.2007.0011.

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6

Ahn, Soong-Beum. "Meaning of 'Labor' and Aesthetic in Dardenne Brothers' Films." Journal of the Korea Contents Association 12, no. 9 (September 28, 2012): 93–105. http://dx.doi.org/10.5392/jkca.2012.12.09.093.

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7

Dillet, Benoit, and Tara Puri. "Left-over Spaces: The Cinema of the Dardenne Brothers." Film-Philosophy 17, no. 1 (December 2013): 367–82. http://dx.doi.org/10.3366/film.2013.0021.

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8

Rushton, R. "Empathic projection in the films of the Dardenne brothers." Screen 55, no. 3 (September 1, 2014): 303–16. http://dx.doi.org/10.1093/screen/hju027.

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9

Oh, Bobae. "The Language-Image of the Dardenne Brothers Representing Solidarity: Focusing on Their Film, Deux jours, une nuit." Hankuk University of Foreign Studies Literature Studies 90 (May 31, 2023): 85–104. http://dx.doi.org/10.22344/fls.2023.90.85.

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The film by Jean-Pierre et Luc Dardenne, Deux jours, une nuit (2014), shows the dilemma experienced by workers and their solidarity within an inhuman game based on the logic of capitalism. This film is characterized by the active use of language-image as well as words, language-text, which concretely describe the marginalization of the weak in contemporary society, the isolation of workers, and the hostility to each other reinforced by the capitalist system. The frames partitioned by the lines, colors or materials aroud the characters describe also the solidaristic landscapes, quietly deployed, despite everything. The purpose of this research is to find the language-images of the Dardenne brothers and to understand their social message, using the analysis of the images of the background and the movements of the characters which complete the plot of the film.
10

Park, Eun-Jee. "The politics of friendship and paternity: The Dardenne brothers’ Rosetta." Studies in French Cinema 12, no. 2 (May 8, 2012): 137–49. http://dx.doi.org/10.1386/sfc.12.2.137_1.

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11

Gills, Melina. "Book Review: The Cinema of the Dardenne Brothers: Responsible Realism." Film Quarterly 67, no. 1 (2013): 82–84. http://dx.doi.org/10.1525/fq.2013.67.1.82.

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12

Herbeck, Mariah Devereux. "The Cinema of the Dardenne Brothers: Responsible Realism by Philip Mosley." French Review 87, no. 3 (2014): 242. http://dx.doi.org/10.1353/tfr.2014.0370.

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13

Caruana, John. "The Dardenne Brothers and the Invisible Ethical Drama: Faith without Faith." Religions 7, no. 5 (April 26, 2016): 43. http://dx.doi.org/10.3390/rel7050043.

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14

Campillo, Margarita, Juan Sáez, and Andrés Zaplana. "Nuevos lenguajes fílmicos en la vieja Europa: el cine social de los hermanos Dardenne." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 97–121. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5911.

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Resumen:Las películas de los hermanos Dardenne son documentos vivos, poblados de perso-najes marginales y excluidos, que ofrecen enormes posibilidades para reflexionar desde múltiples espacios educativos. Su obra presenta un reconocido estilo personal autoral, tanto en la forma como en las historias que aborda, susceptible de análisis y profundización. Adentrarse en ella y bucear su estilo narrativo es el objetivo de este estudio. Para materializarlo se esboza, al inicio, la tradición europea creadora de nuevas formas de expresión fílmica a lo largo del siglo XX -desde el naturalismo poético francés hasta llegar al movimiento nórdico “Dogma 95”- para explorar, más detenidamente, a continuación la produc-ción de los directores belgas: siguiendo un planteamiento evolutivo que transita desde sus primeros trabajos que antecederán a “La promesa” (1996) hasta su último film, “El niño de la bicicleta”( 2011), en este texto se analizan las obras de ficción de los hermanos y el estilo característico que pre-domina en ellas. Planos cortos, que trans-miten su propia vida interior, y de larga duración para que se pueda seguir atentamente la acción, filmación continua-da en el mismo orden programado en el guión, ausencia de música intrusiva, imá-genes despojadas de toda clase de buenos sentimientos… el sello personal de los Dardenne abre cauces novedosos de expresión comunicativa tan poderosos como creativos. Abstract: The movies of the Dardenne brothers are living documents filled with marginalized characters that offer a great opportunity to think and reflect from different educational perspectives. Their work has a very personal composition; for being ahead of its time and for the depth of its analysis. With this essay, we try to explore and dive deep in their narrative style. For that, we first draft their influences taken from the European tradition with its new ways of filmic expressions, throughout the XX century: from the poetic French naturalism to the Nordic movement “Dogma 95”, to explore in bigger detail, after that, the influence of the productions of Belgian directors: all of these following an evolutionary approach that goes from their first movies before “La promesse” (1996), to their last film, “The kid with a bike” ( 2011),in this text, we analyze their fictional tales and their characteristic style. Close ups that describe an inner life and long shots to attend to the events in detail. The filming is always done in the order planned in the screenplay, there is always a lack of intrusive music, images without any kind of good feelings...the style of the Dardenne brothers which is an open door to new communicative styles, all of them powerful and creative. Palabras clave: Cine; historia del cine; análisis fílmico; narrativa audiovisual; exclusión social Keywords: Cinema; cinema history; film analysis; audiovisual narration; social exclusion
15

Yang, Hyunjin. "Moral Imagination through Dilemma Narrative of Forgiveness: Centering on Dardenne Brothers’ Films." Korean Society of Culture and Convergence 43, no. 3 (March 31, 2021): 403–24. http://dx.doi.org/10.33645/cnc.2021.03.43.3.403.

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16

McAteer. "Facing the Responsibility of Parenthood in the Films of the Dardenne Brothers." Soundings: An Interdisciplinary Journal 103, no. 3 (2020): 346. http://dx.doi.org/10.5325/soundings.103.3.0346.

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17

Mai, Joseph. "Lorna's Silenceand Levinas's ethical alternative: form and viewer in the Dardenne Brothers." New Review of Film and Television Studies 9, no. 4 (December 2011): 435–53. http://dx.doi.org/10.1080/17400309.2011.606532.

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18

Кунгуров, Ю. М. "“The Silence of Waiting, the Silence of Living: Why the Dardenne Brothers’ Refusal to Use Music Made Their Films More Musical”." Музыкальная академия, no. 4(784) (December 21, 2023): 20–29. http://dx.doi.org/10.34690/339.

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Статья посвящена вопросам звукового оформления фильмов бельгийских режиссеров Жан-­Пьера и Люка Дарденнов. В ней рассматриваются причины, как этические, так и стилистические, отказа братьев Дарденн от использования закадровой музыки, от аудиального комментария к визуальному ряду. Ключевые эпизоды большинства их фильмов идут в сопровождении естественных звуков, тогда как саундтрек лимитирован или отсутствует — и это принципиально важно для понимания творческого метода режиссеров. В статье анализируется ряд сцен из фильмов, репрезентирующих такой подход к звуку. Более подробно рассмотрены знаковые для становления режиссеров работы «Обещание» (1996), «Розетта» (1999) и «Сын» (2002), а также их последняя на сегодня картина «Тори и Локита» (2022). The article is devoted to the sound design of the films of Belgian directors Jean-Pierre and Luc Dardenne. The article discusses the reasons, both ethical and stylistic, why the Dardenne brothers refuse to use non-diegetic music to auditory comment on the image. Natural sounds accompany key scenes in most of their films, while the soundtrack is limited or absent: any tricks are minimized, which is essential to understanding their ethics and aesthetics. This article analyzes several scenes from the films that represent this approach to sound. The filmmakers’ landmark works “La promesse” (1996), “Rosetta” (1999) and “Le fils” (2002), as well as their latest feature to date, “Tori et Lokita” (2022), are covered in more detail.
19

Pippin, Robert. "Psychology Degree Zero? The Representation of Action in the Films of the Dardenne Brothers." Critical Inquiry 41, no. 4 (June 2015): 757–85. http://dx.doi.org/10.1086/681785.

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20

Beausoleil, Emily. "The political space of art: The Dardenne brothers, Arundhati Roy, Ai Weiwei, and Burial." Contemporary Political Theory 16, no. 3 (January 16, 2017): 409–12. http://dx.doi.org/10.1057/s41296-016-0021-y.

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21

Trahair, Lisa. "Belief in this World: The Dardenne brothers’ The Son and Søren Kierkegaard’s Fear and Trembling." SubStance 45, no. 3 (2016): 98–119. http://dx.doi.org/10.1353/sub.2016.0031.

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22

Jeong, Seung-hoon. "From 'face-to-face' to 'side-by-side': The abject neighbour in European cinema." Northern Lights: Film & Media Studies Yearbook 18, no. 1 (January 1, 2020): 53–67. http://dx.doi.org/10.1386/nl_00013_1.

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Abstract The Dardenne brothers' The Promise (1996) and Fatih Akin's The Edge of Heaven (2007) depict non-western migrants in western Europe as the social 'abject' in the background of multicultural conflicts between global (Christian) Europe and its (Islamic) periphery. Also, both share a motif based on the Abraham‐Isaac story. Abraham's sacrifice of Isaac epitomizes one's singular relationship with God beyond community (Kierkegaard, Marion, Derrida), but the Abraham figures in the films give themselves to the abject Isaac figures through self-abjection. This becoming-abject as an existential gift breaks the father‐son identity in the global regime, forming solidarity among the abject as strangers. Such an abject is, I claim, a 'faceless' third. For Levinas, the 'face of the other' leads one to divine infinity beyond totality, but this self-other unit is destabilized with the other's place taken (repeatedly) by the faceless third. Neither friend nor enemy, this new other should be called 'neighbour' in the context of ethical philosophy. The sovereign-subject-abject hierarchy is dismantled into the equality of the neighbours who share abjectness beyond cultural mediation or identity and walk side by side rather than face to face. I reframe Levinansian infinity in this network of neighbouring on the edge of the global system.
23

Kim, Soyoung. "Dialectical hegemony in the Dardenne brothers’ cinematic real space, ‘Labor Field’: Focusing on Rosetta and Deux jours, une nuit." Film Studies 90 (December 31, 2021): 71–96. http://dx.doi.org/10.17947/fs.2021.12.90.71.

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24

Scott, Jason. "From Local Roots to Global Screens: Shane Meadows’ Positioning in the Ecology of Contemporary British Film." Journal of British Cinema and Television 10, no. 4 (October 2013): 829–45. http://dx.doi.org/10.3366/jbctv.2013.0182.

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This article provides a case study of the ecology of British independent film, as illustrated through the continuing career of Shane Meadows. I focus on the intersection between the practices of economic independence and creative independence, ameliorated by low-budget, local films that exploit festival showcasing and critical buzz to achieve international exhibition in a range of markets. While Meadows’ earlier films exemplify the reliance on television funding that has characterised British and continental European cinema since the 1980s, and the emerging significance of regional and Lottery-based funding in the 1990s, they also correspond to the local/international model of much low-budget European realist art cinema, best identified with the Dogme 95 films or those of the Dardenne brothers. Yet since Once Upon a Time in the Midlands (2002), Meadows has deviated from the established trajectory of recognised British auteurs, Mike Leigh and Ken Loach, instead utilising co-production funding to reduce his budgets to ensure maintaining artistic control. Akin to post-Dogme rule-based production manifestoes such as ‘Industrial Film DK’, Meadows has developed and revisited his own rules: film what you know – focusing on a particular local community, localised identities, and restricted locations – in addition to improvisational approaches to acting. Consequently Meadows has achieved recognition as a local but global film-maker.
25

민병훈. "The research on the similarity between the films of Robert Bresson and ones of Dardenne Brothers -focused on the directing style shown in the 'Mouchette' and 'Rosetta'-." Film Studies ll, no. 43 (March 2010): 169–98. http://dx.doi.org/10.17947/kfa..43.201003.006.

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26

"The Dardenne Brothers’ Cinematic Parables: Integrating Theology, Philosophy, and Film." Journal of Religion & Film 27, no. 1 (April 2023). http://dx.doi.org/10.32873/uno.dc.jrf.27.01.53.

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27

Smith, Matthew. "Precarity, Liminality, mobility: childhood in the cinema of the Dardenne Brothers." Studies in European Cinema, April 4, 2024, 1–15. http://dx.doi.org/10.1080/17411548.2024.2333130.

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28

"Fetish, Sacrifice and Tragic Freedom in the Dardenne Brothers' La Promesse." April 2016 20, no. 2 (April 2016). http://dx.doi.org/10.32873/uno.dc.jrf.20.02.39.

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29

Botha, Martin P. "Flemish Cinema and Film Culture through South African Eyes." Kinema: A Journal for Film and Audiovisual Media, November 20, 2007. http://dx.doi.org/10.15353/kinema.vi.1154.

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THE HERITAGE OF FILM: PERSPECTIVE ON FLEMISH CINEMA AND FILM CULTURE THROUGH SOUTH AFRICAN EYES I assisted the Locarno Film festival in 2005 with a retrospective of short films by young South African directors. There I met a very talented, young Flemish director, whose film was by far the best in the one section.(1) It moved me immensely with its honest portrait of alienation and racial discrimination. We had a long discussion on film history, aesthetics and film cultures. We also talked about the history of film in Belgium and it was noted that while the French speaking side of Belgian cinema had recently received international acclaim (for example, the work by the Dardenne Brothers), Flemish cinema was struggling. In fact, the young filmmaker made the statement that there was little to be excited about in the history of Flemish cinema. He felt especially that the films about...

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