{"id":45253,"date":"2025-07-14T22:43:00","date_gmt":"2025-07-14T20:43:00","guid":{"rendered":"https:\/\/diploma.ecolecamondo.fr\/memoire\/suzanne-mollo\/le-huis-clos-au-cinema-une-forme-dengagement\/"},"modified":"2026-02-03T18:27:38","modified_gmt":"2026-02-03T17:27:38","slug":"le-huis-clos-au-cinema-une-forme-dengagement","status":"publish","type":"dissertation","link":"https:\/\/diploma.ecolecamondo.fr\/en\/memoire\/suzanne-mollo\/le-huis-clos-au-cinema-une-forme-dengagement\/","title":{"rendered":"No exit cinema, a form of engagement"},"content":{"rendered":"
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Comment le genre cin\u00e9matographique du huis clos parvient-il \u00e0 cultiver un questionnement profond et \u00e0 interpeller le spectateur ?<\/p><\/div><\/div><\/article>\n\n\n

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Repr\u00e9sentation : Plan d\u2019un ancien th\u00e9atre grecque.\n<\/figcaption>\n <\/article>\n\n\n
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Vue d’ensemble du film “12 hommes en col\u00e8re” montrant la silmplicit\u00e9 du d\u00e9cors.\n<\/figcaption>\n <\/article>\n\n\n
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Diff\u00e9rents extraits du film Gerry (2002) de Gus van sant montrant l\u2019immensit\u00e9 du d\u00e9sert dans un huis clos \u00e0 ciel ouvert.\n<\/figcaption>\n <\/article>\n\n\n
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Image du film “le proc\u00e9s goldman” montrant une vue d’ensemble du tribunal.\n<\/figcaption>\n <\/article>\n\n\n
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Portrait de Frederick Wiseman.\n<\/figcaption>\n <\/article>\n","protected":false},"author":91,"featured_media":45254,"template":"","meta":{"_acf_changed":false,"_metafield_presentation":"How does the no exit cinematic genre manage to cultivate profound reflection and appeal to the spectator?
Born from ancient theatre and adopted in cinema as a genre in its own right, this dissertation analyses how, over time, the no exit genre has become a powerful tool for questioning the spectator and immersing them in deep reflection. By manipulating the camera, temporality and space, this kind of space becomes a terrain for the viewer's emotion and reflection. Through works such as Elephant by Gus Van Sant or 12 angry Men by Sidney Lumet, this dissertation shows how the dead end, by limiting space, manages to captivate the viewer, incite them to introspection and question their perception of society and its human relations.","_metafield_image_toggle":false,"_metafield_image_legend":"","_metafield_gallery":"[{\"id\":45254,\"title\":\"img_0945\",\"url\":\"https:\/\/diploma.ecolecamondo.fr\/content\/uploads\/2025\/07\/img_0945.webp\",\"thumbnail\":\"https:\/\/diploma.ecolecamondo.fr\/content\/uploads\/2025\/07\/img_0945-150x150.webp\"}]"},"keywords":[62],"teachers_list_1":[55],"class_list":["post-45253","dissertation","type-dissertation","status-publish","has-post-thumbnail","hentry","keywords-performing-arts","teachers_list_1-julien-verhaeghe-en"],"acf":[],"yoast_head":"\nNo exit cinema, a form of engagement - Diploma Camondo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/diploma.ecolecamondo.fr\/en\/memoire\/suzanne-mollo\/le-huis-clos-au-cinema-une-forme-dengagement\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"No exit cinema, a form of engagement - 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