ABSTRACT
In his doctoral thesis on F. W. Murnau’s film Faust (1926), French filmmaker Éric Rohmer identifies in cinema, or at least in the most conventional and narrative type of cinema that interests him, three aspects of cinematic space he calls: pictorial, architectural and filmic. As we shall see, if this division can, on the one hand, serve a didactic function linked to learning about the visual composition of filmic images, it is, on the other hand, a reductionist and artificial one by ignoring, or at least disregarding, the temporal component of the cinema in favor of its spatial facet.
keywords:
pictorial space; architectural space; filmic space; Éric Rohmer; Faust