Author: Michael Temple Publisher: Bloomsbury Publishing ISBN: 1838718869 Category : Performing Arts Languages : en Pages : 781
Book Description
This thoroughly revised and expanded edition of a key textbook offers an innovative and accessible account of the richness and diversity of French film history and culture from the 1890s to the present day. The contributors, who include leading historians and film scholars, provide an indispensable introduction to key topics and debates in French film history. Each chronological section addresses seven key themes – people, business, technology, forms, representations, spectators and debates, providing an essential overview of the cinema industry, the people who worked in it, including technicians and actors as well as directors, and the culture of cinema going in France from the beginnings of cinema to the contemporary period.
Author: Michelle E. Bloom Publisher: University of Hawaii Press ISBN: 0824857453 Category : History Languages : en Pages : 289
Book Description
Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.
Author: Rémi Fournier Lanzoni Publisher: Bloomsbury Publishing USA ISBN: 1501303090 Category : Performing Arts Languages : en Pages : 633
Book Description
To a large extent, the story of French filmmaking is the story of moviemaking. From the earliest flickering images of the late nineteenth century through the silent era, Surrealist influences, the Nazi Occupation, the glories of the New Wave, the rebirth of the industry in the 1990s with the exception culturelle, and the present, Rémi Lanzoni examines a considerable number of the world's most beloved films. Building upon his 2004 best-selling edition, the second edition of French Cinema maintains the chronological analysis, factual reliability, ease of use, and accessible prose, while at once concentrating more on the current generation of female directors, mainstream productions such as The Artist and The Intouchables, and the emergence of minority filmmakers (Beur cinema).
Author: Alan J. Singerman Publisher: Focus ISBN: 9781585108930 Category : French language Languages : en Pages : 0
Book Description
Like its French-language companion volume Le Cinéma français contemporain: Manuel de classe, Alan Singerman and Michèle Bissière's Contemporary French Cinema: A Student's Book offers a detailed look at recent French cinema through its analyses of twenty notable and representative French films that have appeared since 1980. Sure to delight Anglophone fans of French film, it can be used with equal success in English-language courses and, when paired with its companion volume, dual-language ones. Acclaim for Le Cinéma français contemporain: Manuel de classe "From Le Dernier Métro to Intouchables, Bissière and Singerman cover the latest trends of French cinema, emphasizing context and analytical method as Singerman did in Apprentissage du cinéma français (Focus 2004). The authors offer a selection of films most French cinephiles will applaud, and they incorporate insights from some of the best critical work on French cinema. Students of French film will also find all the bibliographical pointers they need to dig deeper, and instructors will appreciate the pedagogical components included in the chapters." --Jonathan Walsh, Department of French Studies, Wheaton College, Massachusetts "This remarkable book comes to us from two seasoned teachers and critics and beautifully complements an earlier work, Alan Singerman's Apprentissage du cinéma français. The time period covered, more targeted here than in the preceding text, is admirably well chosen, and the breakdown by broad category, each offering multiple options, guides the teacher while offering a choice among an abundance of interesting films. The preliminary chapters, both succinct and informative, give students an excellent overview of French cinema as a whole and of the technical knowledge needed for film analysis. Each of the subsequent chapters offers an indispensable introduction discussing the plot, director, production, actors, reception, and context of the film in question and also provides a very useful filmography and bibliography... an exemplary work." --Brigitte E. Humbert, Department of French and Francophone Studies, Middlebury College
Author: Nick Rees-Roberts Publisher: Edinburgh University Press ISBN: 0748634193 Category : Social Science Languages : en Pages : 176
Book Description
French Queer Cinema examines the representation of queer identities and sexualities in contemporary French filmmaking. This groundbreaking volume is the first comprehensive study of the cultural formation and critical reception of contemporary queer film and video in France. French Queer Cinema addresses the emergence of a gay cinema in the French context since the late 1990s, including critical coverage of films by important contemporary directors such as Francois Ozon, Sebastien Lifshitz, Patrice Chereau, Andre Techine and Christophe Honore. Nick Rees-Roberts transposes contemporary Anglo-American Queer Theory to the study of French screen culture, drawing particular attention to issues of race and migration such as problematic fantasies of Arab masculinities in queer cinematic production. This theoretically-informed book engages with a number of fault-lines running through queer cultural representation in France including transgender dissent and the effects of AIDS and loss on the formation of queer identities and sexualities.
Author: Geneviève Sellier Publisher: Duke University Press ISBN: 0822388979 Category : Performing Arts Languages : en Pages : 280
Book Description
Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema. Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.
Author: Isabelle Vanderschelden Publisher: Liverpool University Press ISBN: 1906733910 Category : Performing Arts Languages : en Pages : 404
Book Description
Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside.
Author: Phil Powrie Publisher: Hodder Arnold ISBN: 9780340760031 Category : Performing Arts Languages : en Pages : 212
Book Description
The study of French cinema has greatly expanded in recent years, as it is increasingly taught alongside literature in modern language departments. This book, written by two leading scholars of French film, offers students an introduction to the history and theory of French cinema.
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Author: Michael Temple
Author: Michelle E. Bloom
Author: Rémi Fournier Lanzoni
Author: Alan J. Singerman
Author: C. G. Crisp
Author: Nick Rees-Roberts
Author: Geneviève Sellier
Author: Ginette Vincendeau
Author: Isabelle Vanderschelden
Author: Phil Powrie