Claude Lanzmann’s The Four Sisters (2017) on Television
This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained...
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| Format: | Article |
| Language: | English |
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Netherlands Institute for Sound and Vision
2021-12-01
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| Series: | VIEW Journal of European Television History and Culture |
| Online Access: | https://www.viewjournal.eu/article/10.18146/view.269/ |
| _version_ | 1797943461948686336 |
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| author | Sue Vice |
| author_facet | Sue Vice |
| author_sort | Sue Vice |
| collection | DOAJ |
| description |
This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained interviews, absence of location footage and reliance on certain kinds of shot construction and mise-en-scène, arise from this televisual production context, as well as seeming to mark an ambivalent effort on the director’s part to redress his earlier work’s focus on male testifiers. |
| first_indexed | 2024-04-10T20:23:27Z |
| format | Article |
| id | doaj.art-b2fdad1656ec417f86506fd26c007a33 |
| institution | Directory Open Access Journal |
| issn | 2213-0969 |
| language | English |
| last_indexed | 2024-04-10T20:23:27Z |
| publishDate | 2021-12-01 |
| publisher | Netherlands Institute for Sound and Vision |
| record_format | Article |
| series | VIEW Journal of European Television History and Culture |
| spelling | doaj.art-b2fdad1656ec417f86506fd26c007a332023-01-25T13:42:38ZengNetherlands Institute for Sound and VisionVIEW Journal of European Television History and Culture2213-09692021-12-0110201810.18146/view.269Claude Lanzmann’s The Four Sisters (2017) on TelevisionSue Vice This article analyses Claude Lanzmann’s final work, The Four Sisters (2017), in the context of its being edited from the outtakes of Shoah (1985) for broadcast on the Arte television channel. It argues that the distinctive features of the film, including its form as a quartet of self-contained interviews, absence of location footage and reliance on certain kinds of shot construction and mise-en-scène, arise from this televisual production context, as well as seeming to mark an ambivalent effort on the director’s part to redress his earlier work’s focus on male testifiers.https://www.viewjournal.eu/article/10.18146/view.269/ |
| spellingShingle | Sue Vice Claude Lanzmann’s The Four Sisters (2017) on Television VIEW Journal of European Television History and Culture |
| title | Claude Lanzmann’s The Four Sisters (2017) on Television |
| title_full | Claude Lanzmann’s The Four Sisters (2017) on Television |
| title_fullStr | Claude Lanzmann’s The Four Sisters (2017) on Television |
| title_full_unstemmed | Claude Lanzmann’s The Four Sisters (2017) on Television |
| title_short | Claude Lanzmann’s The Four Sisters (2017) on Television |
| title_sort | claude lanzmann s the four sisters 2017 on television |
| url | https://www.viewjournal.eu/article/10.18146/view.269/ |
| work_keys_str_mv | AT suevice claudelanzmannsthefoursisters2017ontelevision |