French Screen Studies最新文献_第9页

The system of the genius: the French New Wave’s politique des producteurs 天才制度:法国新浪潮的生产者政治

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-05-05 DOI: 10.1080/26438941.2022.2057665

Eli Boonin-Vail

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引用次数: 0

In the name of the Gothic father: François Truffaut’s L’Histoire d’Adèle H. (1975) 以哥特式父亲的名义：弗朗索瓦·特鲁法的《阿黛尔·H的故事》（1975）

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-04-22 DOI: 10.1080/26438941.2022.2056348

M. Mallia

{"title":"In the name of the Gothic father: François Truffaut’s L’Histoire d’Adèle H. (1975)","authors":"M. Mallia","doi":"10.1080/26438941.2022.2056348","DOIUrl":"https://doi.org/10.1080/26438941.2022.2056348","url":null,"abstract":"ABSTRACT The reception of François Truffaut’s 1975 film L’Histoire d’Adèle H., dealing with the obsession and descent into madness of the daughter of Victor Hugo, has recurrently focused on its critical engagement with Romantic melodrama, as well as its literary and ‘romanesque’ dimensions. This article argues that the term ‘romanesque’ has camouflaged the film’s active engagement with both cinematic and literary Gothic heritage. This engagement is shown to be inextricably linked to dynamic tensions of paternal influence. Both Truffaut as director and Adèle Hugo as film character actively renegotiate the Father’s artistic heritage of violent passions and dark metaphysical forces, with differing results. The article proposes a double analysis: (a) a close reading of the film’s Gothic tropes, shedding light on Truffaut’s intertextual dialogue with Hitchcock, his favourite ‘Gothic’ father and (b) an examination of the character Adèle H.’s intertextual performance, in which she contends with the powerful Gothico-Romantic myth embodied by the literary patriarch Victor Hugo. This will lead to extended insight into Truffaut’s brand of filmic Gothic as a vehicle of haunted intensity and on his distinctive exploration of the torments of female subjectivity, haunting and neurosis.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43032927","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 marriage of life and art: the celebrity coupledom of Charlotte Gainsbourg and Yvan Attal 生活与艺术的结合:夏洛特·甘斯布和伊万·阿塔尔的名人夫妇

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-04-19 DOI: 10.1080/26438941.2022.2057666

F. Chaplin

{"title":"A marriage of life and art: the celebrity coupledom of Charlotte Gainsbourg and Yvan Attal","authors":"F. Chaplin","doi":"10.1080/26438941.2022.2057666","DOIUrl":"https://doi.org/10.1080/26438941.2022.2057666","url":null,"abstract":"ABSTRACT In addition to playing characters, stars can represent a story and this is true both of individual stars and star couples. The story of Charlotte Gainsbourg and Yvan Attal – one of France’s most famous couples – unfolds both onscreen and offscreen and is articulated in a play of signification across various representations. Gainsbourg and Attal have made several films together, including three directed by Attal in which they play a couple. With reference to these films as a trilogy and to extra-cinematic material, this article considers how the Attal/Gainsbourg celebrity couple is narrativised through the interplay of their onscreen and offscreen presences. It examines how the ‘reality’ of the offscreen couple is both reinforced and undermined by the ‘fiction’ of the onscreen couple, particularly through the use of the romantic comedy genre, which engages with established cultural norms around coupling in France. The article interweaves a reading of these films into an analysis of the couple’s cultural life to examine how the onscreen couple nuance ideas of legitimate coupling norms, including through an appeal to their everyday authenticity.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"67 - 83"},"PeriodicalIF":0.2,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41947841","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

The latest fashion in French star studies 法国明星研究的最新潮流

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-04-06 DOI: 10.1080/26438941.2022.2051344

M. Hallet

引用次数: 0

Bibliography for French and francophone cinema and television 2021 2021年法语和法语电影电视参考书目

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-04-06 DOI: 10.1080/26438941.2022.2049512

M. Hallet

{"title":"Bibliography for French and francophone cinema and television 2021","authors":"M. Hallet","doi":"10.1080/26438941.2022.2049512","DOIUrl":"https://doi.org/10.1080/26438941.2022.2049512","url":null,"abstract":"Albera, François. Léger et le cinéma. Paris: Nouvelles Éditions Place. Allio, René. Les carnets, tome III. Montpellier: Éditions Deuxième époque. Aumont, Jacques. Doublures du visible. Voir et ne pas voir en cinéma. Villeneuve d’Ascq: Presses Universitaires du Septentrion. Baxter, John. Charles Boyer: The French Lover. Lexington: University Press of Kentucky. Bellan, Katharina, Renard Caroline, and Vappereau, Marguerite, eds. Le Centre Méditerranéen de Création Cinématographique: Une expérience de la décentralisation. Aix-en-Provence: Publications de l’Université de Provence. Best, Victoria, and Crowley, Martin. The New Pornographies: Explicit Sex in Recent French Fiction and Film. Manchester: Manchester University Press. Blanchon, Philippe, Lemoine, Bruno, Noël, René, and Sicard, Jacques. Politique de l’auteur 2. Toulon: La Nerthe. Brett Oliver. Performing Place in French and Italian Queer Documentary Film: Space and Proust’s Lieu Factice. London: Palgrave Macmillan. Billaut, Manon. André Antoine au cinéma: Une méthode expérimentale. Sesto San Giovanni: Mimésis. Binh, N.T., ed. Actrices et acteurs au travail. Bruxelles: Les Impressions Nouvelles. Blackhurst, Alice. Luxury, Sensation and the Moving Image. Abingdon-on-Thames: Legenda. Bouanani, Ahmed. La Septième Porte. Une histoire du cinéma au Maroc de 1907 à 1986. Rabat: Kulte. Bourdeau, Loïc, ed. ReFocus: The Films of François Ozon. Edinburgh: Edinburgh University Press. Broomer, Stephen, and Enns, Clint, eds. Imprints: The Films of Louise Bourque. Ottawa: Canadian Film Institute. Brossat, Alain, and Dupuis, Joachim Daniel. Bruno Dumont ou le cinéma des Z’humains. Paris: L’Harmattan. Burch Noël. Mémoires d’un transfuge cinéphile. Une vie de bâton de chaise. Paris: L’Harmattan. Campos, Rémy, Carou, Alain, and Poidevin, Aurélien, eds. De la scène à la pellicule:","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"352 - 356"},"PeriodicalIF":0.2,"publicationDate":"2022-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41703732","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

Undressed to kill: knowing, reading and connecting in Alain Guiraudie’s homme fatal thriller L’Inconnu du lac 不为所动：在阿兰·吉劳迪的致命惊悚片《L’Inconnu du lac》中认识、阅读和联系

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-03-04 DOI: 10.1080/26438941.2022.2035506

J. Hardwick

{"title":"Undressed to kill: knowing, reading and connecting in Alain Guiraudie’s homme fatal thriller L’Inconnu du lac","authors":"J. Hardwick","doi":"10.1080/26438941.2022.2035506","DOIUrl":"https://doi.org/10.1080/26438941.2022.2035506","url":null,"abstract":"ABSTRACT One of the unknowns associated with Alain Guiraudie’s thriller L’Inconnu du lac/Stranger by the Lake (2013) is what the film is really about. Set at a lake where men have sex with men, the film follows the protagonist Franck, who pursues a relationship with a man despite witnessing that man drown his lover. Whereas some reviews have read the film as a fable about the dangers of casual sex or HIV, this article argues that a key theme is the question of ‘knowability’: how do we come to know, to read, to make connections? How the film itself connects to a wider viewing audience is a further question this article addresses. To do so, three aspects pertinent to its readability are considered. The first relates to genre: how the film breaks with the generic conventions of the homme fatal thriller. The second pertains to space, with Guiraudie’s lakeside being compared to Jean-Didier Urbain’s writing on the beach. The third concerns narrative, specifically the self-reflexive element of three ‘reader’ characters in the film. This article will contend that ultimately Guiraudie’s film goes beyond communitarian questions to offer a post-queer vision of connectedness in a world of increasing isolation.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"84 - 99"},"PeriodicalIF":0.2,"publicationDate":"2022-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41648977","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

What makes a major? Recent books on French studios 什么是专业？关于法国工作室的新书

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-02-22 DOI: 10.1080/26438941.2022.2033476

Reece Goodall

引用次数: 0

Performing vulnerability: hand in hand with Les Enfants d’Isadora 表演脆弱:与伊莎多拉的孩子们携手

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-01-26 DOI: 10.1080/26438941.2021.2022359

Sarah Cooper

{"title":"Performing vulnerability: hand in hand with Les Enfants d’Isadora","authors":"Sarah Cooper","doi":"10.1080/26438941.2021.2022359","DOIUrl":"https://doi.org/10.1080/26438941.2021.2022359","url":null,"abstract":"ABSTRACT Damien Manivel’s Les Enfants d’Isadora (2019) is inspired by Isadora Duncan’s solo dance ‘Mother’, which she choreographed after the tragic loss of her two young children. Manivel’s film shows a series of women who engage with the dance in contemporary times, juxtaposing their interpretations of the solo with scenes from everyday life. These women’s performances point to a shared vulnerability, stemming from, but not limited to, Isadora Duncan’s grief. In contrast to studies of vulnerability in film that concentrate on vulnerable individuals, this reading of Manivel’s film explores how vulnerability subtends the formation of relational identity. Drawing first upon Emmanuel Levinas’s ethics of vulnerability, before centring on the ethico-political work of Judith Butler on vulnerability, performativity and gesture, the article shows how Manivel scrutinises actions and gestures both in and beyond dance, frequently singling out people’s hands. The film’s performance of vulnerability through its attention to hands is bound less to the proximity of tactility and contact or identification and empathy than it is to distance. By valorising distance and difference between the disparate women who are otherwise united by the same dance, the film enables us to re-view the ties that bind both them and us to each other.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"23 1","pages":"1 - 19"},"PeriodicalIF":0.2,"publicationDate":"2022-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48584777","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

Réécrire le corps. Érotique et politique dans les films de Godard et Gorin 重写身体。戈达尔和戈林电影中的情色和政治

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-01-10 DOI: 10.1080/26438941.2021.1964798

Raphaël Jaudon

{"title":"Réécrire le corps. Érotique et politique dans les films de Godard et Gorin","authors":"Raphaël Jaudon","doi":"10.1080/26438941.2021.1964798","DOIUrl":"https://doi.org/10.1080/26438941.2021.1964798","url":null,"abstract":"RÉSUMÉ Du Groupe Dziga Vertov, collectif de cinéma militant animé par Jean-Luc Godard et Jean-Pierre Gorin après Mai 68 (en pleine période de « libération sexuelle »), on pourrait attendre qu’il aborde frontalement la dimension sociale et politique de la sexualité. Or, les cinéastes effectuent un double pas de côté par rapport aux milieux militants de leur époque : non seulement ils privilégient la question de l’érotisme à celle de la sexualité, mais cet érotisme semble devoir passer, dans leurs films, par la médiation de l’écrit. La carrière du groupe offre plusieurs exemples remarquables : alternance de cartons stylisés et de fragments de corps dans British Sounds (1969), proposition pour une politique de la jouissance sous forme de slogans écrits dans Pravda (1969), ou encore personnages griffonnant des mots sur des photographies érotiques pendant le procès de Vladimir et Rosa (1970), instituant le corps nu comme lieu d’une refondation du langage politique. Un examen attentif des liens entre érotique et politique chez Godard et Gorin démontrera toute la complexité de cette question, tendue entre la nécessaire dénonciation (marxiste) de la marchandisation du corps et l’espoir d’une réinvention (révolutionnaire) de l’érotisme cinématographique.","PeriodicalId":40074,"journal":{"name":"French Screen Studies","volume":"22 1","pages":"229 - 250"},"PeriodicalIF":0.2,"publicationDate":"2022-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47278020","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

Intranational film industries: A quantitative analysis of contemporary Belgian cinema 国内电影产业：当代比利时电影的定量分析

IF 0.2 2区艺术学

French Screen Studies Pub Date : 2022-01-05 DOI: 10.1080/26438941.2021.2005343

Bram Van Beek, Gertjan Willems

引用次数: 2