André Crous is a professional film critic and is a member of FIPRESCI.
His French honour’s degree thesis focused on the cinematic development of François Truffaut’s Antoine Doinel character across five films.
His first master’s degree thesis examined the scope and significance of tracking shots in Mikhail Kalatozov’s I Am Cuba, Martin Scorsese’s GoodFellas and Paul Thomas Anderson’s Boogie Nights. Staying with Anderson, his second master’s degree thesis tracked the inclusion of extraordinary moments (from puddings speaking to characters seemingly hearing a non-diegetic song being played on the soundtrack) in Punch-Drunk Love and Magnolia.
His Ph.D. dissertation, which primarily concentrated on a handful of films by Michael Winterbottom (Welcome to Sarajevo, 24 Hour Party People, In This World, 9 Songs and A Cock and Bull Story), considered the definition of realism within the context of combinations of so-called “real” or archive footage with reconstructions or dramatisations. I reached the conclusion that “realism” is no longer tied to the experience of the viewer in the world alone but also to the experiences with which the viewer is confronted in the cinema.
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