French Screen Studies最新文献

{"title":"White women in racialised spaces, or Claire Denis’s double vision of ‘Africa’1","authors":"Laura Ceia","doi":"10.1080/26438941.2023.2208900","DOIUrl":"https://doi.org/10.1080/26438941.2023.2208900","url":null,"abstract":"","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49450727","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 films of Céline Sciamma: a cinema of youth and desire","authors":"F. Smith","doi":"10.1080/26438941.2023.2213013","DOIUrl":"https://doi.org/10.1080/26438941.2023.2213013","url":null,"abstract":"In December 2022, Sight and Sound published their list of the 100 ‘Best Films of All Time’ comprising works suggested by hundreds of academics, film critics, programmers, archivists, curators and filmmakers across the globe (BFI 2022). To the surprise of many commentators, the top spot was taken by Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), the first film directed by a woman to attain this position, putting an end to the enduring tussle between Alfred Hitchcock’s Vertigo (1958) and Orson Welles’s Citizen Kane (1941). While Akerman’s film made a huge leap from position 36 in just ten years, Céline Sciamma (1978-) claims the accolade of the highestplaced new entry in the poll with Portrait de la jeune fille en feu/Portrait of a Lady on Fire ((hereafter Portrait, 2019) at number 30. As Ginette Vincendeau points out, given that Sciamma’s career had barely begun in 2012 when the last poll was taken, her success and rise in critical standing have been nothing short of ‘meteoric’ (2022, 58). The inclusion of Sciamma and Akerman alike in this hitherto male-dominated and selfproclaimed canonical list speaks to the growing (re)valorisation of female filmmakers, as well as to an increased focus on the diversity of those making their choices on the poll itself. The period between 2012 and 2022 has seen the rise of the #MeToo wave of online activism, whose obvious results include the conviction and imprisonment of the producer Harvey Weinstein and, as a corollary, the now commonplace inclusion of intimacy coordinators on set, ensuring that actors have informed consent to the actions required of them, especially during sex scenes. Sciamma, whose work engages with questions of queer identity and female desire, has surely benefitted from such a public focus on the politics of desire on and off screen, even if the reception of #MeToo in France has been decidedly more nuanced, combining a disdain for Anglophone puritanism with an increased visibility of feminist activism such as through the movements #BalanceTonPorc and ‘5050 by 2020’, which was spearheaded by Sciamma herself. The articles in this special double issue of French Screen Studies collectively address the place of Sciamma in contemporary French and global art cinema. As Emma Wilson has argued in her book-length analysis of the director’s work, Sciamma has very quickly become the ‘most visible, most important feminist and lesbian director in international filmmaking’, let alone French cinema (2021, 1). Her status as a filmmaker is the result of the consistent quality of her output and its distinctiveness. However, it is clear that Sciamma’s persona as a public figure, whose face has become widely known across and beyond the sphere of art cinema, has been a significant feature of her success. These articles, principally developed from papers delivered at the 2020 Contemporary Directors Symposium at the University of Sussex, affirm the complexity and vibrancy of Sciamma’","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"115 - 119"},"PeriodicalIF":0.2,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42924242","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 Barbara hypothesis: performance and spectatorship in the musical biopic","authors":"Belén Vidal","doi":"10.1080/26438941.2023.2195260","DOIUrl":"https://doi.org/10.1080/26438941.2023.2195260","url":null,"abstract":"","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45065298","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":"Myth, memory and Maison close: representing sex work on screen","authors":"Will Visconti","doi":"10.1080/26438941.2023.2183595","DOIUrl":"https://doi.org/10.1080/26438941.2023.2183595","url":null,"abstract":"","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46941901","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":"From sisterhood to matrophobia: reading the family romance in the films of Céline Sciamma","authors":"Fiona Handyside","doi":"10.1080/26438941.2023.2181925","DOIUrl":"https://doi.org/10.1080/26438941.2023.2181925","url":null,"abstract":"ABSTRACT This article explores the significance of sister–sister relations in Céline Sciamma’s films. It explains how Sciamma is continuing an important feminist film tradition in attending to the complex negotiation from the intimacy of the family home to the realm of the social for girls, and how sisterly relations are conducted between the domestic and the external world. Drawing on work by Eva Rueschmann, Adrienne Rich, Kathleen Rowe Karlyn and Juliet Mitchell, it creates a framework that considers how Sciamma’s sisters function as both mothers and peers – paying particular attention to birth order means that Sciamma can show the violence and difficulties that subtend the tenderness and complicity of the sisterly relation. The article concludes that Sciamma’s films create idylls of equality that are shattered by the decision the older sister must take to protect herself from patriarchy and thus sacrifice her younger sister to its effects.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"159 - 171"},"PeriodicalIF":0.2,"publicationDate":"2023-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44145347","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 love song of Nelly and Marion: Céline Sciamma’s Petite maman (2021)","authors":"E. Wilson","doi":"10.1080/26438941.2023.2181926","DOIUrl":"https://doi.org/10.1080/26438941.2023.2181926","url":null,"abstract":"ABSTRACT Céline Sciamma’s fifth feature film, Petite maman, premiered at the Berlin Film Festival in March 2021. Shot in autumn 2020 during the COVID-19 pandemic, it is a brief film (72 mins) and a return to the work with child actors which typified Sciamma’s first two features, Naissance des pieuvres (2007) and Tomboy (2011). After the death of her grandmother, a child, Nelly (Joséphine Sanz), helps her parents clear out her mother’s childhood home. She meets another girl of her own age in the woods, Marion (Gabrielle Sanz), who turns out to be her mother as a child. Petite maman offers space for love and care between mothers and daughters and opens out feminist perspectives on memory and grief. Drawing on representations of the mother as a child in Roland Barthes, Sophie Calle and others, as well as discussion of memory and secrecy in the work of Anne Dufourmantelle, this article explores the reimagining of love between mothers and daughters in Petite maman.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"198 - 211"},"PeriodicalIF":0.2,"publicationDate":"2023-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43530162","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":"‘Des plafonds dans les yeux’: representing the New Town in Naissance des pieuvres (Céline Sciamma, 2007)","authors":"Ellie Smith","doi":"10.1080/26438941.2022.2153450","DOIUrl":"https://doi.org/10.1080/26438941.2022.2153450","url":null,"abstract":"ABSTRACT In contrast to Sciamma’s Bande de filles/Girlhood (2014), little scholarly attention has been accorded to space in Naissance des pieuvres/Water Lilies (2007). Featuring quiet neighbourhoods in the Parisian suburb of Cergy, Naissance's backdrop is unassuming. However, its association with consumerism, capitalism and the French state is a rich and hitherto underexploited topic for analysis. Considering the town’s relative novelty, this article interprets Sciamma’s on-screen environment as a partial ‘non-place’ as defined by Marc Augé. Such a town produces superficial social connections characterised by contractual exchanges. Meanwhile, the detached pavillons in Naissance retain a proximity to countryside that suggests freedom and banality, but the tension between nature and state generates oppressive effects. This article argues that Naissance’s backdrop is punctuated by an underlying sense of entrapment. Space is a vector for exploring human relationships, extending themes of feminism and sexuality that permeate Sciamma’s wider oeuvre.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"133 - 144"},"PeriodicalIF":0.2,"publicationDate":"2023-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412270","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":"Jean-Luc Godard and Walter Benjamin: metahistory, dialectical images and worldly theology","authors":"M. Duarte","doi":"10.1080/26438941.2022.2151195","DOIUrl":"https://doi.org/10.1080/26438941.2022.2151195","url":null,"abstract":"","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45643025","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 rules of the game: sports and the gendered body in Céline Sciamma’s youth films","authors":"Frances Smith","doi":"10.1080/26438941.2022.2151152","DOIUrl":"https://doi.org/10.1080/26438941.2022.2151152","url":null,"abstract":"Written and directed by Céline Sciamma, Naissance des Pieuvres/Water Lilies (2007), Tomboy (2011), Bande de Filles/Girlhood (2014) and Petite maman (2021) comprise Sciamma’s contribution to youth cinema, depicting children and adolescents coming of age in contemporary France. Sciamma’s work has been much discussed in relation to the body, queer youth, desire and gender fluidity. Less remarked on, though, is the number of sports and games featured in her work. Naissance is centred around a synchronised swimming team, while in Tomboy, newcomer Laure/Mickäel (Zoé Héran) finds that football offers an ideal means through which to integrate into a new neighbourhood. For its part, Bande begins with an incongruous all-female game of American football, while the film later features ritualised fights and a brief game of mini golf. Considering these competitive encounters in Sciamma’s youth films, this article argues that they serve as a significant means through which to chart their treatment of gendered norms. Taking up Judith Butler’s work on gender, the author suggests that Sciamma’s films allow for the expansion of gendered morphologies. Sports can in this framework be seen to encapsulate and transcend the constrictions on the body that these characters encounter.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135275580","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":"Bibliography for French and francophone cinema and television 2022","authors":"M. Hallet","doi":"10.1080/26438941.2022.2160075","DOIUrl":"https://doi.org/10.1080/26438941.2022.2160075","url":null,"abstract":"Ammouche, Sélim, Blanchet, Alexis, Dozo, Björn-Olav, and Triclot, Mathieu, eds. Lire les magazines de jeux vidéo. Couverture(s) de la presse spécialisée française. Liège: Presses Universitaires de Liège. Aurouet, Carole. “Les Enfants du paradis” de Marcel Carné. Rome: Gremese. Aurouet, Carole, Cherqui, Marie-Claude, and Véray, Laurent. Musidora, Qui êtes-vous? Paris: Éditions de Grenelle. Bastide, Bernard. François Truffaut: Correspondance avec des écrivains, 1948–1984. Paris: Gallimard. Bazin, André. André Bazin on Adaptation: Cinema’s Literary Imagination. Oakland: University of California Press. Edited and with an introduction by Dudley Andrew. Beauvais, Yann. Agir le cinéma: Écrits sur le cinéma expérimental (1979–2020). Dijon: Les Presses du réel. Bernasconi, Carine. “Salam Cinéma!”: Le cinéma iranien en France des années 1950 à aujourd’hui. Sesto San Giovanni: Mimésis. Blanchon, Philippe, Lemoine, Bruno, Noël, René, and Sicard, Jacques. Politique de l’auteur 3. Toulon: La Nerthe. Block, Marcelline, and Kirby, Jennifer, eds. ReFocus: The Films of Michel Gondry. Edinburgh: Edinburgh University Press. Bonvallet, Nathan. Michel Ocelot. Le poète des ombres. Toulouse: Third éditions. Bracco, Pierre-Paul. Louis de Funès: La grande conscience du rire. Paris: L’Harmattan. Bresson, Robert. Entretiens. Rassemblés par Mylène Bresson. Paris: Flammarion. Caillé, Patricia, and Calin, Raluca, eds. À l’œuvre au cinéma! Professionnelles en Afrique et au Moyen Orient. Paris: L’Harmattan. Chareyron, Romain. Trans Identities in the French Media: Representation, Visibility, Recognition. Lanham: Lexington Books. Cheval, Olivier. Au royaume des aveugles. Réville: De l’incidence éditeur. Clarou, Alphonse, Lemoine, Bruno, Noël, René, Sicard, Jacques, and Zukofsky, Louis. Politique de l’auteur 4. Toulon: La Nerthe. Connolly, Aoife. (2020). Performing the Pied-Noir Family: Constructing Narratives of Settler Memory and Identity in Literature and On-Screen. Lanham: Lexington Books. Cortade, Ludovic, and Soulez, Guillaume, eds. Littérature et Cinéma: La culture visuelle en partage. Bern: Peter Lang. Cortade, Ludovic, and Soulez, Guillaume, eds. Penser l’espace avec la littérature et le cinéma. Bern: Peter Lang.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"42 - 45"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48057442","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}