French Screen Studies最新文献_第7页

Special dossier: French film studies in Australia 特别档案:在澳大利亚的法国电影研究

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2023-01-02 DOI: 10.1080/26438941.2022.2160073

B. McCann

{"title":"Special dossier: French film studies in Australia","authors":"B. McCann","doi":"10.1080/26438941.2022.2160073","DOIUrl":"https://doi.org/10.1080/26438941.2022.2160073","url":null,"abstract":"As I write this editorial, the Alliance Française French Film Festival (AFFFF) in Australia is drawing to a close. Beginning in 1989, this annual event is sponsored and co-run by the Alliance Française with support from the French Embassy, and provides a shop window for new French films. In terms of tickets sold and films screened, the AFFFF has grown to become the largest film festival dedicated to contemporary French cinema outside of France. Taking place in a dozen different cities and towns across the country, the AFFFF now screens over 50 new films each year and includes events such as debates, special guests and master classes (Zabou Breitman was a guest of the festival in 2020; Jacques Audiard came in 2019 and Benoît Jacquot in 2013). Now in its 33rd iteration, it attracts around 200,000 spectators annually and for many represents the cultural highlight of the year (Cojean 2019). An analysis of this year’s viewing trends reveals Australian audiences’ tastes and dispositions – the four most viewed films in the AFFFF nationwide were Adieu Monsieur Haffmann/Farewell, Mr. Haffmann (Fred Cavayé, 2022), Mes frères et moi/La Traviata, My Brothers and I (Yohan Manca, 2022), Illusions perdues/Lost Illusions (Xavier Giannoli, 2021) and La Brigade/The Kitchen Brigade (Louis-Jean Petit, 2022). There are no real surprises here: Australians, like most others in the Anglosphere, continue to gravitate towards costume dramas, family melodramas, social comedies and films set during the Occupation. They also help prop up the French star system – the fifth most viewed was Patrice Leconte’s Maigret (2002), an adaptation of Georges Simenon’s Maigret et la jeune morte, starring Gérard Depardieu. When the AFFFF artistic director and French embassy’s cultural attaché Karine Mauris was asked why Australians are so fascinated by French film, her reply was indicative of the extent to which French culture is all-pervasive in Australia:","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"46 - 51"},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44042542","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}

引用次数: 0

Intergenerational injustice in a Parisian banlieue. Ladj Ly’s contemporary reframing of Les Misérables 巴黎郊区的代际不公。李对《悲惨世界》的当代重构

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2023-01-02 DOI: 10.1080/26438941.2022.2057667

Karolina Westling

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引用次数: 1

Staging the generic self: Céline Sciamma’s autofictional praxis 展现一般的自我:csamline Sciamma的自我虚构实践

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-12-20 DOI: 10.1080/26438941.2022.2149171

Mary Harrod

引用次数: 3

‘Why has Céline Sciamma become so iconic?’: The auteure as celebrity “为什么Céline Sciamma变得如此具有标志性？”：作为名人的导演

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-12-20 DOI: 10.1080/26438941.2022.2151239

G. Vincendeau

引用次数: 0

Sex scene and unseen: Portrait de la jeune fille en feu (Céline Sciamma, 2019) 性爱场景和看不见：着火女孩的肖像（Céline Sciamma，2019）

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-12-20 DOI: 10.1080/26438941.2022.2152579

Susan Potter

引用次数: 1

Céline Sciamma’s screenwriting: ‘building an architecture of multiple desires’ Céline Sciamma的编剧：“构建一个多重欲望的建筑”

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-12-20 DOI: 10.1080/26438941.2022.2151154

Isabelle Vanderschelden, Sarah Leahy

引用次数: 0

Lesbian legibility and queer legacy in Céline Sciamma’s Portrait de la jeune fille en feu (2019) celine sciama的《燃烧女孩的肖像》(2019)中的女同性恋易读性和酷儿遗产

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-12-20 DOI: 10.1080/26438941.2022.2148375

Clara Bradbury-Rance

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引用次数: 1

Examining the past, looking to the future: perspectives on Algerian and Moroccan cinema 回顾过去，展望未来：阿尔及利亚和摩洛哥电影观

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-09-28 DOI: 10.1080/26438941.2022.2123129

Rym Ouartsi

引用次数: 0

Keith Reader (1945–2022) Keith Reader（1945–2022）

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-09-27 DOI: 10.1080/26438941.2022.2123128

G. Vincendeau

引用次数: 0

Modernity and the machine in Ballet mécanique 现代性与芭蕾舞剧中的机器