Vincente Minnelli / 文森特·明奈利 · 1951
An American in Paris
An American in Paris
Sets, colour, and ensemble movement carry the whole world into motion, forming an implied dream through the musical.
Film details
- Original title
- An American in Paris
- Director
- Vincente Minnelli / 文森特·明奈利
- Year
- 1951
- Region
- United States
Close-reading questions
- 01How do walking, shop windows, and painting in Paris connect Jerry's professional situation to a sensory-motor chain, and where does the musical sequence pause it?
- 02In the final ballet, streets, canvas, light, and stage continuously transform. Which movement still belongs to the character, and which has become movement of the world itself?
- 03How do the visual series of an idealized Paris and the postwar material milieu coexist, and does the musical actually resolve their gap?
Shots and scenes
Primary texts, scholarship, and locators
Theory coordinate: Cinema 2, ch. 3, p. 63
- 01Cinema 2: The Time-Image
Authoritative source for the standard translation, translators, ISBN, and publication date.
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This film in books and research
Dreams of Difference, Songs of the Same · Atlas extension
An American in Paris
Film relation: The final ballet expands the musical moment into a total recomposition of space and painterly style.
Shot question: Does the ballet change character relations, or only decorate desire as spectacle?
Dreams of Difference, Songs of the Same
An American in Paris
Reading relation: Compare how the final ballet recomposes space, desire, and time.
Viewing gateways and editions
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