French Screen Studies最新文献

{"title":"Martyr or saint? Body, image and acting style in Dreyer’s La Passion de Jeanne d’Arc and Bresson’s Procès de Jeanne d’Arc","authors":"Hanne Schelstraete","doi":"10.1080/26438941.2022.2108573","DOIUrl":"https://doi.org/10.1080/26438941.2022.2108573","url":null,"abstract":"ABSTRACT Joan of Arc has inspired many works of art. The iconographical discourse of this artistic tradition is twofold: she is portrayed either as the homeland’s saviour or as a religious virgin. The cinematic adaptations by Carl Th. Dreyer and Robert Bresson – respectively La Passion de Jeanne d’Arc (Dreyer, 1928) and Procès de Jeanne d’Arc (Bresson, 1962) – demonstrate, however, that the latter iconographical image is again twofold. Preferring an inexpressive acting style to emotional expression and fragmented bodily representation to bodily wholeness, Bresson portrays Joan as a saint who excels in faith and quietude. As in the literary tradition of the saint’s vita, Joan transcends the now, the physical and the emotional. In La Passion, Dreyer’s continuous emphasis on suffering and death contributes to the portrait of Joan as a martyr. Along with overt symbolic images, the emotional and facial expressiveness of lead actress Falconetti reflects the intense agony of Christ, who, throughout much of human history, has served as the ultimate example for martyrs themselves and artists, including authors working within the genre of the martyr’s passio. To both Dreyer and Bresson, the figure of Joan serves as a bridge, connecting disappointment with the present to passion for the historical.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47314546","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":"‘On n’est pas dans Black Mirror’: ambivalent optimism in Osmosis","authors":"P. Scott","doi":"10.1080/26438941.2022.2110747","DOIUrl":"https://doi.org/10.1080/26438941.2022.2110747","url":null,"abstract":"","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44066518","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":"Hunting images: sub-Saharan Africa in early French cinema","authors":"Rachel Gabara","doi":"10.1080/26438941.2022.2095725","DOIUrl":"https://doi.org/10.1080/26438941.2022.2095725","url":null,"abstract":"ABSTRACT Scholars of French cinema have paid little attention to early non-fiction films, particularly those shot in colonised spaces. Yet cameramen sponsored by major French cinema companies appeared in North Africa in the last years of the nineteenth century and south of the Sahara as early as 1906, eager to record images of newly conquered lands. This essay examines the first French films shot in West and Central Africa, from panoramas and views to travel to hunting narratives, with a particular focus on the career of self-proclaimed chasseur d’images [‘image-hunter’] Alfred Machin. Early cinema advertised France’s colonies to the metropole as, within a decade, sensationalised ethnography became tightly bound to propaganda for empire.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46246260","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":"Michèle Morgan dans les années 1950 : une star controversée","authors":"Geneviéve Sellier","doi":"10.1080/26438941.2022.2074081","DOIUrl":"https://doi.org/10.1080/26438941.2022.2074081","url":null,"abstract":"RÉSUMÉ Michèle Morgan, après un exil de six ans à Hollywood pendant la guerre, retrouve la faveur du public français en 1946 avec le film de Jean Delannoy, La Symphonie pastorale et devient la star féminine n°1 en France pendant une décennie. En tête au box-office et couverte de récompenses, en couple à la ville avec Henri Vidal et associée à l’écran aux stars masculines les plus populaires, Jean Marais, Jean Gabin, Gérard Philipe, son image évolue par rapport à l’avant-guerre où elle incarnait la marginalité, la pureté et une forme – non menaçante – de résistance au patriarcat. Après-guerre, elle « s’embourgeoise » aussi bien dans ses personnages qu’à la ville, et sa soumission aux normes d’une féminité plus traditionnelle provoque des réactions contrastées dans le public, dont on trouve la trace dans le courrier des lecteurs de Cinémonde, le magazine de cinéma le plus populaire de la période.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"132 - 152"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46442327","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":"‘Still beautiful’: Michèle Morgan in the 1960s","authors":"G. Vincendeau","doi":"10.1080/26438941.2022.2074083","DOIUrl":"https://doi.org/10.1080/26438941.2022.2074083","url":null,"abstract":"ABSTRACT This article examines Michèle Morgan’s films of the 1960s, the last phase in her long career, and one hitherto ignored by film history, largely on account of the dearth of auteur films in the star’s late filmography. Morgan’s 1960s films are explored against three contexts: the impact of the New Wave on popular cinema (in particular the arrival of youth culture); the changing social context, especially as it affected women; and the importance of age, given that Morgan was 40 at the beginning of the decade. Morgan’s films are shown to divide into two main strands: on the one hand, large-budget omnibus or ensemble films, mostly in light comic mode, and on the other hand, smaller-scale dramas in which she is systematically paired with a younger actor in a romantic relationship that is on the whole doomed. The article argues that the films’ deployment of Morgan’s star persona as the elegant bourgeois woman opposite younger actresses betrays society’s ambivalence towards the younger generation. At the same time, while Morgan is depicted as an attractive, sexually active, desiring woman in practically all the films, the narratives articulate a recurrent unease with the ‘older’ woman’s sexual identity.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"208 - 227"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47407199","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":"La persona de Michèle Morgan à l’épreuve de la couleur : Obsession, Les Grandes manœuvres, Marguerite de la nuit, 1954–1955","authors":"Jean Montarnal","doi":"10.1080/26438941.2022.2074077","DOIUrl":"https://doi.org/10.1080/26438941.2022.2074077","url":null,"abstract":"RÉSUMÉ Au milieu des années 1950, lors de ses premiers films en couleurs, Michèle Morgan, alors au sommet de sa carrière, doit confronter sa « cinégénie » à la couleur et adapter ses personnages à son âge réel, 35 ans. Les trois films qu’elle tourne alors, Obsession de Jean Delannoy, Les Grandes manœuvres de René Clair et Marguerite de la nuit de Claude Autant-Lara, apportent des réponses convergentes à ces difficultés car ils montrent, selon nous, comment la couleur permet de prolonger et de renouveler sa persona. En effet, l’usage de la couleur magnifie son statut de star en mettant en valeur l’apparence physique et l’élégance vestimentaire de l’actrice. Mais il permet aussi de mettre en scène les contradictions sociales que représente Morgan à travers des personnages certes en situation d’autonomie affective et professionnelle mais dépendant en grande partie d’un pouvoir masculin. Ces contradictions se perçoivent dans la dialectique chromatique qui se joue entre l’actrice et son environnement. La couleur est enfin le moyen de figurer les tensions affectives et morales des personnages joués par Morgan, des femmes écartelées entre le conformisme imposé par la société et la quête d’une passion amoureuse idéale.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"174 - 189"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49454185","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":"‘A star is born’: Michèle Morgan’s rapid rise to stardom in popular magazines (1937–1939)","authors":"Thomas Pillard","doi":"10.1080/26438941.2022.2074079","DOIUrl":"https://doi.org/10.1080/26438941.2022.2074079","url":null,"abstract":"ABSTRACT This article analyses Michèle Morgan’s rapid rise to stardom between 1937 and 1939 through the prism of her media coverage and her reception in popular magazines and their readers’ letters. From a perspective combining cultural history with star and gender studies, the article is based on an analysis of three specialised film magazines (Cinémonde, Ciné-Miroir, Pour Vous) while exploring the interest shown by the women’s press and its readership (Confidences, Marie-Claire, Midinette, Nouveauté) in the young ‘star’ in the making. After observing Morgan’s revelation and rise as a new type of star, the construction and meanings of her persona, particularly in relation to her ‘sacrificial’ performances and her ‘statuesque’ physique, the article discusses the generational, gender and class implications of the multiple controversies and appropriations surrounding her.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"110 - 131"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43885542","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":"Michèle Morgan and Henri Vidal as star couple (1949–1959): an unusual case of gender and class imbalance","authors":"Gwénaëlle Le Gras","doi":"10.1080/26438941.2022.2073990","DOIUrl":"https://doi.org/10.1080/26438941.2022.2073990","url":null,"abstract":"ABSTRACT Both on and off screen, the Michèle Morgan–Henri Vidal star couple was a pair of opposites. Morgan personified an ethereal femininity on screen, but she chose as her partner the most athletic and virile actor in France, and they became one of the most glamorous French couples of the time. The quintessence of ‘quality’ cinema, Morgan accumulated successes, while Vidal was often consigned to B-movies and supporting roles. Both publicly and on screen, Vidal was perceived as Michèle Morgan’s husband more than she was seen as his wife, a role reversal that was rare for the era. The films’ mise en abyme of their real-life relationship widened the gap between them, reproducing it as class difference punished by death, the loss of a child or alcoholism, all of which strangely echoed their private lives. The relative failure of these films is certainly related to the way that the actors’ image as a couple and the fictional stories built around it clashed with the dominant representations of the time. In order to understand these paradoxes, this article will study the couple’s bittersweet relationship in fact and in fiction, both in their films and via their reception in the media.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"153 - 173"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44320917","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":"Michèle Morgan: stardom and popular cinephilia","authors":"Thomas Pillard, G. Sellier","doi":"10.1080/26438941.2022.2073985","DOIUrl":"https://doi.org/10.1080/26438941.2022.2073985","url":null,"abstract":"Star studies, the approach that arose from the foundational work of Richard Dyer (1998 [1979], translated into French in 2004) has long been relegated to second-class status in the discipline of film studies in France. French academics have taken an interest in actors and actresses, especially those who have contributed to the work of ‘canonical’ filmmakers, and they have also written about acting from the perspective developed by James Naremore (1988, translated in 2014). However, the study of stars as an ideological, sociological and media phenomenon, associated with popular cinema and the reception practices of a broad, diverse audience, has encountered significant resistance to its recognition as an area of legitimate academic investigation – especially when it comes to French cinema. The first, pioneering studies of this kind were written by English-speaking academics, particularly the works of Ginette Vincendeau on Jean Gabin (1993), the French star system (2000, translated in 2008) and Brigitte Bardot (2013, 2014), as well as Susan Hayward’s work on Simone Signoret (2000, translated in 2013). A new generation of French researchers has endeavoured to pursue this path further: these include Gwénaëlle Le Gras, who published a book on Catherine Deneuve (2010), and Delphine Chedaleux, who wrote about the young leading men and women of French cinema of the German occupation (2016); working together, Le Gras and Chedaleux co-edited a volume on the genres, actors and actresses of French cinema from the 1930s to the 1960s (2012). There have been important contributions from long-term research projects, such as the ANR Cinépop50 programme, which ran from 2012 to 2015 (‘Popular Film and Film-Going in Post-War France, 1945–1958’, Le Gras and Sellier 2015), as well as innovative doctoral dissertations covering the cultural history of stardom (Juan 2014) and stars such as Gérard Philipe (Beaujeault 2018) and Delphine Seyrig (Moussa 2021). The first international conference on Danielle Darrieux, which took place on what would have been her 100th birthday, from 3– 5 May 2017 at Bordeaux Montaigne University, led to the publication of a book edited by Gwénaëlle Le Gras and Geneviève Sellier (2020). This special issue of French Screen Studies, devoted entirely to Michèle Morgan, is the result of a one-day conference organised on 29 February 2020, for the 100th anniversary of her birth. It follows the growing impetus of star studies in France,","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"105 - 109"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45420528","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 odd couple: Michèle Morgan and Bourvil in Le Miroir à deux faces (1958) and Fortunat (1960)","authors":"R. Moine","doi":"10.1080/26438941.2022.2073993","DOIUrl":"https://doi.org/10.1080/26438941.2022.2073993","url":null,"abstract":"ABSTRACT Michèle Morgan starred twice alongside Bourvil, in 1958 in Le Miroir à deux faces (André Cayatte) and in 1960 in Fortunat (Alex Joffé). These films present the pairing of Morgan and Bourvil as an anomaly, casting them as a mismatched couple who could only have come together under exceptional circumstances. The contrast between the two characters, and between the two stars, provides the main narrative thrust and selling point of each film. This article analyses the contrast, especially in terms of class, at the centre of the pairing of Morgan and Bourvil. It also explores the roles assigned to male and female characters in each film as well as the sperformances of their main actors. The main argument is that this contrast acted in favour of Bourvil, a rising star whose encounter with Morgan allowed him to enrich his portrayal of an ‘imperfect masculinity’. On the other hand, Morgan was stuck in yet another performance as ‘Morgan the star’ in Le Miroir à deux faces, and, as she approached 40, as a grande dame and mother in Fortunat. Finally, a comparison between Le Miroir à deux faces and its remake The Mirror Has Two Faces (Barbra Streisand, 1996) highlights the limited latitude available to Morgan in Cayatte’s film, in terms of both her acting and the role she played.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"190 - 207"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41736999","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}