Ripping Open the Set: French Film Design, 1930–1939 by Ben McCann

Reviewed by
February 2014, no. 358
Designing reality

Ripping Open the Set: French Film Design, 1930–1939

by Ben McCann

Peter Lang, US$68.95 pb, 250 pp, 9783039103119

Ripping Open the Set: French Film Design, 1930–1939 by Ben McCann

Reviewed by
February 2014, no. 358

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.

Designing reality

Ripping Open the Set: French Film Design, 1930–1939

by Ben McCann

Peter Lang, US$68.95 pb, 250 pp, 9783039103119

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