French Screen Studies最新文献

{"title":"Documenting the undocumented: testimony, attention and cinematic asylum in La Blessure","authors":"D. Sanyal","doi":"10.1080/26438941.2021.2003560","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003560","url":null,"abstract":"ABSTRACT Nicolas Klotz and Élisabeth Perceval’s La Blessure (2004) bears witness to invisible state violence at the nation’s borders, in airport zones of exception, where asylum seekers are detained, injured, cared for and forced to return. This early visual representation of repressive care in the current border regime also cultivates forms of attention and regard for the asylum seeker’s face, voice and story. La Blessure complicates both humanitarian and documentary approaches to the undocumented. Jean-Luc Nancy’s observation that La Blessure evokes attention rather than compassion launches an examination of ‘cinematic asylum’ and frames of care in the film. Klotz and Perceval propose an undocumentarian approach to the undocumented, insofar as it is neither documentary in its genre nor humanitarian in its orientation. In its invocation of attention, the film’s forms wield political force while gesturing towards ethical and juridical reparation.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"91 - 103"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41913642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"There, before you: caring for the uncared for","authors":"A. Evrard","doi":"10.1080/26438941.2021.2003552","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003552","url":null,"abstract":"ABSTRACT Since 2005, a growing number of French documentary filmmakers have taken their cameras inside institutions of care: hospitals, psychiatric wards, private doctors’ offices, nursing homes and even prisons. This article focuses on two films – Prendre soin/Caring (Bertrand Hagenmüller, 2018) and Être là/Being There (Régis Sauder, 2012) – that bring the viewer inside nursing homes and a psychiatric care unit located at the heart of a violent penitentiary – to contend that filmmakers have redefined (health)care as a political and ethical field so as to interrogate our collective (in)ability to care for all members of our society with compassion and attention. It proposes that Prendre soin and Être là actively engage with care as a set of practices, attitudes and interactions that continually need to be reaffirmed against misconceptions, managerial demands and institutional violence. As they do so, they position documentary cinema as a space where the value of care can be grasped more intimately. Furthermore, both films dislodge the viewer from the safe position documentary spectators expect to maintain by leading them to face alterity (social, psychological, physical) as a shared human condition.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"60 - 76"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41844808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The space of care: Fernand Deligny, Renaud Victor and the making of Ce gamin, là (1975)","authors":"Catherine Witt","doi":"10.1080/26438941.2021.2003562","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003562","url":null,"abstract":"ABSTRACT This essay attends to the 1975 documentary film Ce gamin, là, a collaboration between educator Fernand Deligny, filmmaker Renaud Victor and the inhabitants of the para-institutional space of care for non-verbal autistic children that Deligny established in the Cévennes in the late 1960s. Less a documentary illustrative of ways of caring for autistic children than an experiment in observational filmmaking as an enactment of care, Ce gamin, là provides an articulation of care renewed through embodied and situated connections among filmmakers, participants and viewers and actualised in the fostering of alternative political communities, ways of living together across abilities and new modalities of viewership.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"23 - 43"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46419048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Elle s’appelle Sabine: chiasmus and care","authors":"Margaret C. Flinn","doi":"10.1080/26438941.2021.2003554","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003554","url":null,"abstract":"ABSTRACT This article proposes a chiastic reading of Elle s’appelle Sabine, examining how director Sandrine Bonnaire folds time. She represents her sister, the subject of the film, in the present and past, but also offers points of comparison between herself and her sibling. The film has a doubled set of ethical challenges: documentary ethics and ethics of care implicate Bonnaire both as filmmaker and as sister. In turn, Sandrine and Sabine together direct those ethical challenges towards the viewer and the state.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"44 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42982201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ethics of care in documentary filmmaking since 1968","authors":"Grace An, Catherine Witt","doi":"10.1080/26438941.2021.2003551","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003551","url":null,"abstract":"The study of documentaries asks us to consider non-fiction films as sites for the articulation of ethical relations that develop between filmmakers, their subjects and viewers. Faced with the moments of crisis, vulnerability, instability and change often at the heart of documentary films, scholars have accounted for the mutually constructed social and political reality that filmmakers share with their subjects, as well as the impact of these filmed encounters on their communities. This special issue of French Screen Studies refocuses the ethical debates arising around documentary film on its relationships with a relatively new field of pragmatic philosophical and political inquiry known as the ethics of care. Presented here are articles on documentaries that address a variety of situations, ranging from the fight for women’s reproductive rights to the current refugee crisis, by scholars interested in examining the implication of documentary film in care projects as they have played out in French and Francophone documentary filmmaking since 1968. Documentary filmmakers and theorists have long grappled with the ethical, epistemological and aesthetic implications of their choices of how to record and show any given part of reality, while interrogating the imperative to provide ‘authentic’ representation. It bears asking to what extent documentary filmmakers comment upon the world – or build the world through their films. For instance, in The Subject of Documentary, Michael Renov suggests that ethical inquiry in this regard begins with the relationship of a given documentary film to dominant and emergent narratives, and then to the filmmakers’ responsibilities towards both their subjects and viewers (2004). He recognises how difficult it can be for ethical examinations to compete with a quest for knowledge, in what he has observed as ‘this pitting of ethics against epistemology’ (161). Ethical inquiry of this nature is therefore iterative, responding to changes in industrial practices and technology, and responding to the ever dynamic cultures of politics, journalism, law, medicine and health. Which strategies of engagement can motivate viewers to invest in the position taken by a given film, to learn about and from it – even trust it? Like labours of care, the work of documentary and its effects on viewers at times resists intelligibility and determinacy. It nevertheless always has the potential to change the conversation on a subject matter that calls for attention, while cultivating receptivity and a sense of responsibility and justice. The issues at the heart of the ethics of care can enrich this line of questioning by refocusing what is ethically at stake in the relationships between the filmmakers and their subjects as caregivers and recipients of care, as well as on viewers as witnesses to care, to the vulnerability of others and, ultimately, their own. Originally focused on the private and intimate spheres of life, the ethics of care has evol","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"1 - 5"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49534181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Care across divides: militant abortion and film around the Veil Law","authors":"Grace An","doi":"10.1080/26438941.2021.2003119","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003119","url":null,"abstract":"ABSTRACT During the years that preceded the legalisation of abortion in France by la loi Veil in 1975, feminists and activist doctors provided women alternative modes of reproductive care and advocacy. Militant and documentary filmmakers captured these developments in films such as Y’a qu’à pas baiser ! (Carole Roussopoulos and Vidéo Out, 1971–1973), Histoires d’A (Charles Belmont and Marielle Issartel, 1974) and Regarde, elle a les yeux grand ouverts (Yann Le Masson, 1982). While reframing abortion as an act of care and self-governance for women and their families and communities, filmmakers strive to both expand access to and increase safety in abortion practices, while arguing their significance in the socio-economic and political landscape of 1970s France.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"6 - 22"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48535953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Care webs and the creole garden in Manthia Diawara’s Édouard Glissant: One World in Relation","authors":"Jeannine Murray‐Roman","doi":"10.1080/26438941.2021.2003555","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003555","url":null,"abstract":"ABSTRACT This article explores how the techniques of surviving Atlantic slavery leave legacies of care, notably in the practice of the jardin créole (creole garden) as a counter-plantation practice of mutual distribution. By taking up Édouard Glissant’s theorisation of the jardin créole in Manthia Diawara’s documentary, Édouard Glissant: One World in Relation, the author shows how Diawara’s staging, filming and editing of Glissant’s remarks amplify how the jardin créole functions as a care web. In its visual dialogue with the jardin créole, Édouard Glissant: One World in Relation demonstrates the role of documentary film in illuminating the ethics of care.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"77 - 90"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45509389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In search of lost screens: Remapping the cultural history of Paris","authors":"A. Phillips","doi":"10.1080/26438941.2021.2003118","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003118","url":null,"abstract":"Here are two important new books on Parisian cultural history, both offering different models of immersion and textual detail, and both written by senior male scholars with a lightly worn, but deeply felt, approach to their topic in hand. In the case of Eric Smoodin’s hugely ambitious survey of Parisian film culture between 1930 and 1950, he provides a multi-tonal social history of exhibition, programming and audiences that serves as a parallel volume to his previous ground-breaking monograph on American cinemagoers and the films of Frank Capra (Smoodin 2005). With his textured and compendious study of one district of the city, the Marais, Keith Reader delivers a characteristically well-researched, aphoristic and anecdotal companion of sorts to Louis Chevalier’s magisterial long-form history of Montmartre (Chevalier 1980). Smoodin’s guiding principle, he states, is to provide a sustained archival-based reflection on the films that ‘came and went through the city, [and] the relationship of cinemas to the movies they showed, to their neighbourhoods, and to their audiences’ (Smoodin, 1). His knowledge of the geographical specificity of Parisian venues and their multiple screening practices over the decades is formidable and requires a kind of sensory precision about place and image that in some ways recalls the long-form online CinéTourist project of the late Roland-François Lack. But unlike Lack, Smoodin’s real passion is not for actual maps and pictures on the screen, but people and cartography off the screen within a particular venue. These details of long-forgotten, but deeply evocative, moments and movements end up multiplying and converging in an imaginary geography that operates on both a micro level which examines one place and time in substantial detail, and a macro level which traces broader patterns of cultural significance over the duration of several months, or even years. Smoodin’s underlying desire is to downplay an understanding of French national cinema from the text outwards, at both the point of production and representation, and focus instead on what he terms ‘the point of reception – the ways in which audiences participated in film culture, the opportunities they had to see films, and the broad discourses about","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"340 - 344"},"PeriodicalIF":0.2,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47305044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cinéma-monde, Jacques Audiard’s Les Frères Sisters and the limits of national cinemas","authors":"G. King","doi":"10.1080/26438941.2021.2003109","DOIUrl":"https://doi.org/10.1080/26438941.2021.2003109","url":null,"abstract":"ABSTRACT In 2019, Jacques Audiard’s eighth feature film, Les Frères Sisters, was nominated for nine César awards and headlined both the UniFrance and Alliance Française French Film Festivals. However Les Frères Sisters/The Sisters Brothers (2018) features no French dialogue, actors, settings or filming locations. Indeed, a growing number of recent films are being labelled as French by national cinema bodies ranging from the CNC to UniFrance and the Césars Academy, despite few clearly ‘French’ characteristics. This article analyses a selection of transnational, transcultural and translingual case studies which have been distributed as French, concentrating on Les Frères Sisters, through the lens of cinéma-monde. Transnational in scope while maintaining connections to the Francosphere, cinéma-monde bends the conventions of national cinemas to foreground ‘a flexible corpus of films that are linked to the francophone world by some combination of linguistic or cultural affinities, geographic contacts, production connections, or reception networks’. The article uses cinéma-monde to consider how films such as Les Frères Sisters continue to be produced, distributed, consumed and judged within the frameworks of national cinemas, but also to conclude that such frames are insufficient to fully understand these films and how they operate in the world.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"100 - 113"},"PeriodicalIF":0.2,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45940681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Paths of words: The political dimension of friendly conversation in Robert Guédiguian’s films","authors":"Pablo Alzola, Ana Romero-Iribas","doi":"10.1080/12259276.2021.1970364","DOIUrl":"https://doi.org/10.1080/12259276.2021.1970364","url":null,"abstract":"ABSTRACT This article studies the political dimension of friendship in Robert Guédiguian’s cinema, delving into the crucial role that conversation plays in this relationship, and taking Stanley Cavell’s thought as a main reference. Aristotle’s concept of civic friendship, along with its contemporary readings, and Cavell’s notion of conversation provide a theoretical frame for the analysis of three recent feature films directed by Guédiguian that present a strong thematic and narrative unity (and have barely received attention in previous scholarship): Les Neiges du Kilimandjaro/The Snows of Kilimanjaro (2011), La Villa/The House by the Sea (2017) and Gloria Mundi (2019). Based on, but going beyond, Cavell’s moral theorisation of the filmic portrayal of human relationships, the analysis of these films has identified four milestones in the transformative process—both personal and political—that stems from conversation with friends: conformity, confrontation, acknowledgement and renewed community. In all three films, this process of change is not only presented as a progressive discovery of one’s own voice, but also as a progressive unmasking: both are necessary prerequisites for welcoming foreigners in need of acknowledgement and, consequently, for the renewal of community.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"271 - 286"},"PeriodicalIF":0.2,"publicationDate":"2021-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44084138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}