Ben McCann’s Ripping Open the Set begins with four epigraphs, observations of various kinds. They come from American figures – Frank Capra, Douglas Fairbanks, Mary Pickford, and Nathanael West – and they express a range of notions, none of them particularly positive, about the place of design in cinema. McCann – senior lecturer in French at the University of Adelaide – then starts his introduction with another American voice: producer David O. Selznick sends a memo to his design colleagues during pre-production for Gone with the Wind (1939). This time, however, the observation has a different tone. Selznick canvasses, with some concern, the widespread belief that French films have ‘a quality of reality in photography, sets, and costumes’ that American movies lack. American films seem constructed – French sets looked lived-in.
Ripping Open the Set: French Film Design, 1930–1939
by Ben McCann
Peter Lang, US$68.95 pb, 250 pp, 9783039103119
Read the rest of this article by subscribing to ABR Online for as little as $10 a month. We offer a range of subscription options, including print, which can be found by clicking here. If you are already a subscriber, enter your username and password in the ‘Log In’ section in the top right-hand corner of the screen. If you require assistance, contact us or consult the Frequently Asked Questions page.
Philippa Hawker is a writer on film and the arts for The Age and Fairfax Media. She is a former editor of the journal Cinema Papers.
By this contributor
Leave a comment
Please note that all comments must be approved by ABR and comply with our Terms & Conditions.
NB: If you are an ABR Online subscriber or contributor, you will need to login to ABR Online in order to post a comment. If you have forgotten your login details, or if you receive an error message when trying to submit your comment, please email your comment (and the name of the article to which it relates) to email@example.com. We will review your comment and, subject to approval, we will post it under your name.