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Recent attempts at melding theater and cinema tend to ignore one particular genre : comedy. Adapting a stage comedy for the silver screen, however, involves a specific dramaturgy that gives much freedom for its screenplay and shooting. That is what this essay will explore through Cuisines et dépendances and Un air de famille. These two stage comedies were coauthored by Agnès Jaoui and Jean-Pierre Bacri, and made into movies by directors Philippe Muyl and Cédric Klapisch, respectively.
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Links between the cinema of Yasujirô Ozu (1903-1963) and Japanese painting have rarely been approached in theory, with the exception of David Bordwell who proposed a parallel between his representation of urbanity and that practiced by Hiroshige (1797-1858) in One Hundred Famous Views of Edo. We extend this analysis to identify a few shared aesthetic concerns, notably the naturalisation of urban space and the decentring of human figures. If Hiroshige's representations are tinged with an almost cinematographic dynamism, Ozu’s work expresses these gestures through his "peridiegetic" shots, the function of which is to separate the audience from the narrative center of the film in order to confront it with the strong plasticity of the film picture.
Keywords: intermédialité, Intermediality, meisho-e, meisho-e, cinéma japonais, Japanese cinema, naturalisation, naturalisation, décentrement, decentring