French Screen Studies最新文献_第8页

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

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-09-12 DOI: 10.1080/26438941.2022.2106714

Katherine Shingler

引用次数: 0

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 殉道者还是圣人?德雷尔的《圣女贞德的激情》和布列松的《圣女贞德的审判》中的身体、形象和表演风格

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-09-12 DOI: 10.1080/26438941.2022.2108573

Hanne Schelstraete

{"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}

引用次数: 0

‘On n’est pas dans Black Mirror’: ambivalent optimism in Osmosis 《黑镜》:《渗透》中矛盾的乐观主义

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-09-07 DOI: 10.1080/26438941.2022.2110747

P. Scott

引用次数: 0

Hunting images: sub-Saharan Africa in early French cinema 狩猎影像:早期法国电影中的撒哈拉以南非洲

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-08-23 DOI: 10.1080/26438941.2022.2095725

Rachel Gabara

引用次数: 1

Michèle Morgan dans les années 1950 : une star controversée michele摩根在20世纪50年代:一个有争议的明星

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-07-03 DOI: 10.1080/26438941.2022.2074081

Geneviéve Sellier

引用次数: 0

‘Still beautiful’: Michèle Morgan in the 1960s “依然美丽”：20世纪60年代的米歇尔·摩根

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-07-03 DOI: 10.1080/26438941.2022.2074083

G. Vincendeau

{"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}

引用次数: 0

La persona de Michèle Morgan à l’épreuve de la couleur : Obsession, Les Grandes manœuvres, Marguerite de la nuit, 1954–1955 米歇尔·摩根（Michèle Morgan）的《色彩的考验：迷恋，伟大的策略》，玛格丽特·德拉努伊特（Marguerite de la Nuit），1954-1955年

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-07-03 DOI: 10.1080/26438941.2022.2074077

Jean Montarnal

{"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}

引用次数: 0

‘A star is born’: Michèle Morgan’s rapid rise to stardom in popular magazines (1937–1939) “一个明星诞生了”:米歇尔·摩根在流行杂志上迅速成为明星(1937-1939)

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-07-03 DOI: 10.1080/26438941.2022.2074079

Thomas Pillard

引用次数: 0

Michèle Morgan and Henri Vidal as star couple (1949–1959): an unusual case of gender and class imbalance Michèle Morgan和Henri Vidal饰演明星夫妇（1949–1959）：一个不寻常的性别和阶级失衡案例

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-07-03 DOI: 10.1080/26438941.2022.2073990

Gwénaëlle Le Gras

{"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}

引用次数: 0