Friday, May 9, 2014

Chocolat (France/West Germany/Cameroon: Claire Denis, 1988)

Chocolat (France/West Germany/Cameroon: Claire Denis, 1988: 105 mins)

Agatucci, Cora. "Chocolat: Film Guide and Resources." (HUM 221 at Central Oregon Community College: 2007)


Burchett, William, Brian Risselada and Josh Ryan. "Claire Denis." Syndrome and a Cinema #3 (October 17, 2011)

Canby, Vincent. "Chocolat (1988): Caught and Not Caught in Cameroon." The New York Times (March 10, 1989)

Craven, Marie and Raphael Caputo. "Chocolat: An Interview with Claire Denis." Drop In ... and Get Lost (June 11, 2011)

Dinning, Samantha. "Great Directors: Claire Denis." Senses of Cinema (April 2009)

Ebert, Roger. "Chocolat." Chicago Sun-Times (May 12, 1989)

Funderburg, Christopher, et al. "Claire Denis." Wrong Reel #122 (April 3, 2016)

Hughes, Darren and Michael Leary. "Claire Denis." Movie Mezzanine (2015)

Reardon, Kiva. "Claire Denis and Objects of Desire." Keyframe (March 3, 2016)

Sandars, Diane. "Chocolat." Senses of Cinema (November 2001)

Sarmiento, José. "The Strangers of Claire Denis: Her cinema speaks of the borders that divide humanity, and the people who cross them." Keyframe (March 24, 2017)

Ventura, Elbert. "Colonial Architecture: Chocolat." Reverse Shot #29 (2009)

Walton, Saige. "Cinema and Sensation: French Film and the Art of Transgression by Martine Beugnet." Senses of Cinema #50 (April 2009) ["Those familiar with French director Claire Denis will be aware of the exquisite sensuality of her cinema. Whether coming together with another body in the world through the shared space and flesh of desire, or being driven apart from others by personal and sociopolitical circumstance, bodies – their gestures, bites and kisses, alternately languid or energetic movements, postures, habits and rituals – are the very “stuff” and substance of the film experience here. Given her privileging of the senses and her amenability to, as well as considered dialogue with, philosophers of the body, Denis is at the forefront of a number of contemporary directors (by no means exclusive to France, if we consider the work of figures such as Hou Hsiao-hsien, David Lynch or Wong Kar-Wai) who are generating much interest from sensually alert film scholars. Adrian Martin, for instance, identifies “the bedrock of Denis’ cinema [as] the flesh”, while Elena del Río comments that the “film body” of the cinema itself becomes a “sensation producing machine” in Denis, as if each film were “sending ripples of affect and thought across a diversity of its movements”, independent of the body of the viewer. The arresting materiality that infuses Denis forces us to look anew at sensory encounters with the cinema."]

Wood, Robin. "Claire Denis: Cinema of Transgression, Part 1." Film International (April 1, 2011)

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