Contemporary French Civilization: Volume 46, Issue 3最新文献

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Global and local rhetorics at a public-facing private company: Studiocanal and French cinema 面向公众的私营公司的全球和本土修辞:Studiocanal和法国电影
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.19
C. Meir
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引用次数: 0
Introduction: Canal+ and contemporary French cinema and television 导读:Canal+与当代法国电影电视
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.16
C. Meir, R. Kuhn
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引用次数: 0
Channeling globalism: Canal+ as transnational French genre film producer 引导全球主义:Canal+作为跨国法国类型电影制片人
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.18
Mary Harrod
{"title":"Channeling globalism: Canal+ as transnational French genre film producer","authors":"Mary Harrod","doi":"10.3828/cfc.2021.18","DOIUrl":"https://doi.org/10.3828/cfc.2021.18","url":null,"abstract":"\u0000This article examines Canal+’s contribution to the recent or contemporary consolidation of three genres traditionally excluded from the French filmmaking landscape: romantic comedies, horror films, and teen movies. The many films from these emergent French genres funded and in frequent cases also more indirectly supported by Canal+ speak to the organization’s status as a transnational, transmedia production entity. Moreover, analyzing the new French genre trends in whose burgeoning the company has been instrumental suggests the difficulties of unpicking geo-cultural allegiances and influences in an ever more multidirectional, multiplatform, cross-hybridizing mediasphere. This article considers the case study films Alibi.com (2017) and Grave (2016) to illustrate the fact that, like the European audiovisual mainstream as a whole, French genre films are bound up in an increasingly transnational and complex intertextual web - a state of affairs promoted by multinational conglomerates such as Canal+. It nonetheless suggests that such French iterations of US-originated genres appropriate and transform rather than merely citing, echoing, or emulating existing models. What is more, drawing on theorizations of aesthetics and affect suggests that these processes can foster new identities.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126978458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends 将“灵魂运河”翻译成喜剧剧本:运河+在法国喜剧电影趋势发展中的作用
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.20
Isabelle Vanderschelden
{"title":"Translating “l’esprit Canal” into comedy screenplays: Canal+’s role in the development of French comedy film trends","authors":"Isabelle Vanderschelden","doi":"10.3828/cfc.2021.20","DOIUrl":"https://doi.org/10.3828/cfc.2021.20","url":null,"abstract":"\u0000This article retraces the trajectories of three selected groups of comedy actors, screenwriters, and directors discovered on Canal+ in the context of the evolution of the media group’s policies for comedy development practices for cinema. The article focuses on artists and television shows that served as platforms for entry into the cinema, including “Les Nuls,” “Les Robin des Bois,” Jamel Debbouze and Philippe Lacheau’s “La Bande à Fifi.”","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124547474","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Le label “Création Originale” de Canal+: une stratégie de marque au service d’un renouvellement de la fiction sérielle française Canal+的“原创创作”标签:为法国系列小说的更新服务的品牌策略
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.21
H. Boudon, J. David, Virginie Sonet
{"title":"Le label “Création Originale” de Canal+: une stratégie de marque au service d’un renouvellement de la fiction sérielle française","authors":"H. Boudon, J. David, Virginie Sonet","doi":"10.3828/cfc.2021.21","DOIUrl":"https://doi.org/10.3828/cfc.2021.21","url":null,"abstract":"\u0000À l’aube des années 2000, la chaîne payante Canal+ diversifie sa gamme de programmes en lançant plusieurs séries dramatiques ambitieuses, exigeantes et réalistes. Celles-ci portent le label de “Création Originale.” Cette stratégie de labellisation participe à une différenciation de l’offre des chaînes gratuites françaises. Elle consiste aussi à transposer la stratégie déployée à la fin de la décennie précédente par le diffuseur premium nord-américain, HBO. Partant d’entretiens sociologiques réalisés avec des producteurs, scénaristes, et chargés de programmes de séries de Canal+, cet article met en évidence deux corollaires de cette politique éditoriale: une modification des méthodes de travail en matière de fictions télévisées, ainsi qu’une recomposition des sphères professionnelles de la télévision française.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116150897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Canal+: from innovative newcomer to beleaguered brand Canal+:从创新新人到陷入困境的品牌
Contemporary French Civilization: Volume 46, Issue 3 Pub Date : 2021-09-01 DOI: 10.3828/cfc.2021.17
R. Kuhn
{"title":"Canal+: from innovative newcomer to beleaguered brand","authors":"R. Kuhn","doi":"10.3828/cfc.2021.17","DOIUrl":"https://doi.org/10.3828/cfc.2021.17","url":null,"abstract":"\u0000This article examines the advent, embedding, and problematic contemporary situation of Canal+ within the context of the French television landscape as a whole. The first section is devoted to the arrival of the new pay-tv channel in 1984 and its growth to maturity to become an integral part of the French television system. The second section concentrates on the challenges facing Canal+ in recent years and the company’s strategic response in an era of unparalleled expansion in the supply of both television and video content as well as radical changes in media usage by French audiences.","PeriodicalId":162218,"journal":{"name":"Contemporary French Civilization: Volume 46, Issue 3","volume":"43 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123606405","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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