Abstract
Agnès Varda's Le Bonheur (1964) records the course of desire in a French family, portrayed against the background of a nation in the throes of modernization. Two recent films, La Vie de Jésus (1997) and Western (1997), the first set in Nord-Pas de Calais, the second in Brittany, demonstrate alternative uses of mise en scène in signifying the relation between characters and place. The former structures space from the point of view of those formed by it and compelled to live in it, while the second uses its setting as a picturesque, aesthetic backdrop. In their uses of space on the screen, the two films speak to changing ideas of place, nation and identity in postmodern, Europeanizing France.
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