Contemporary French Civilization: Volume 47, Issue 1最新文献

Out of this world: the lunar imaginaries of cinéma-monde 在这个世界之外:月亮上的想象

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.5

J. Tolliver

引用次数: 1

“The boundary has been moved”: Hollywood cinéma-monde, film borders, and the multilingual assassin in Sicario and Inglourious Basterds “边界已经被移动了”:好莱坞电影世界，电影边界，以及《边境杀手》和《无耻混蛋》中的多语种刺客

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.3

G. King

{"title":"“The boundary has been moved”: Hollywood cinéma-monde, film borders, and the multilingual assassin in Sicario and Inglourious Basterds","authors":"G. King","doi":"10.3828/cfc.2022.3","DOIUrl":"https://doi.org/10.3828/cfc.2022.3","url":null,"abstract":"\u0000Transnational coproductions, multilingual dialogue, and border-crossing of many forms are growing increasingly common in contemporary cinemas. As a result, assigning a nationality to a film can prove a slippery and even arbitrary process. This article takes a new approach to films such as Sicario (Denis Villeneuve 2015) and Inglourious Basterds (Quentin Tarantino 2009), analyzing texts traditionally viewed as American through the lens of cinéma-monde (Marshall 2012). It focuses in particular on these films’ use of maps, and on their strikingly similar multilingual assassination scenes, reading them through Bill Marshall’s characterization of a cinema that “dramatically focuses attention on four elements: borders, movement, language, and lateral connections” (42). Each of these films was directed by an established auteur working in a “foreign” space and non-native languages, and each depicts continual border-crossing, code-switching, and violence committed across geographic and linguistic lines. With significant American and other characteristics, neither Sicario nor Inglourious Basterds could be neatly categorized as Quebecois nor French respectively. Yet these films implicate the French-speaking world in diverse ways. Ultimately, the ways in which these films traverse, theorize, and weaponize the border begs a questioning of how far the concepts of national cinemas, and indeed of cinéma-monde, can be extended.","PeriodicalId":437764,"journal":{"name":"Contemporary French Civilization: Volume 47, Issue 1","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129114300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Orienteering (through) cinéma-monde: the hubs, networks, borders, and forests of airport cinema 定向(通过)cinsamma -monde:枢纽，网络，边界，和森林的机场电影院

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.2

M. Gott

{"title":"Orienteering (through) cinéma-monde: the hubs, networks, borders, and forests of airport cinema","authors":"M. Gott","doi":"10.3828/cfc.2022.2","DOIUrl":"https://doi.org/10.3828/cfc.2022.2","url":null,"abstract":"\u0000This article considers a selection of films about air travel that encompass an array of voyagers from refugees to business travelers as a metaphor for cinéma-monde and its complex threads and trajectories. Through an analysis of key moments of transition, transformation, or exposition within short scenes from six films set at least in part at airports, I examine how characters and viewers orient themselves between the hubs shared by air networks and the film apparatuses that compose cinéma-monde. I also consider the ways that air networks intersect with other (terrestrial, virtual, cine-industrial) networks. The films analyzed are Des étoiles/Under the Starry Sky (Dyana Gaye, 2013, France/Belgium/Senegal), Je suis mort mais j’ai des amis/I’m Dead But I Have Friends (Guillaume Malandrin and Stéphane Malandrin, 2015, Belgium/France), Le fils de Jean/A Kid (Philippe Lioret, 2016, France/Canada), Bab el web (Merzak Allouache, 2005, France/Switzerland/Algeria), Bird People (Pascale Ferran, 2014, France), and De Nieuwe Wereld/The New World (Jaap van Heusden, 2013, Netherlands). Drawing on these examples, I propose the concept of “orienteering” as a description for how protagonists navigate narrative spaces but also as a model for how viewers and scholars might interact with films with the cinéma-monde framework.","PeriodicalId":437764,"journal":{"name":"Contemporary French Civilization: Volume 47, Issue 1","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117069334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Introduction: new directions in cinéma-monde, from Quebec to Kinshasa and the moon 导读:从魁北克到金沙萨，再到月球，cinsamma -monde的新方向

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.1

M. Gott

引用次数: 2

The unspoken languages of Alain Gomis’s cinema: space, sound, and the body 阿兰·戈米斯电影中未说出来的语言:空间、声音和身体

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.4

Anne Keefe

引用次数: 1

Voice-over and sharing bodies in Alice Diop’s Vers la tendresse (2016) 爱丽丝·迪奥普的《温柔之歌》(2016)中的画外音和分享身体

Contemporary French Civilization: Volume 47, Issue 1 Pub Date : 2022-03-01 DOI: 10.3828/cfc.2022.6

Athena Fokaidis

{"title":"Voice-over and sharing bodies in Alice Diop’s Vers la tendresse (2016)","authors":"Athena Fokaidis","doi":"10.3828/cfc.2022.6","DOIUrl":"https://doi.org/10.3828/cfc.2022.6","url":null,"abstract":"\u0000Films in French have long been global in scope, and debates around the nomenclature used to describe these cinematic works have emerged as a means to acknowledge the power imbalance invoked by categorizations such as French and francophone. Cinéma-monde serves as an organizing principle to articulate the relationships between films and the French-speaking world without reinforcing spatial and linguistic boundaries by way of a center/periphery paradigm. This article addresses the implications of the cinéma-monde framework within the Hexagon to illustrate the representational modes of diffusing marginality in cinema made in France. This article offers a close reading of a scene from Alice Diop’s documentary Vers la tendresse (2016) that mobilizes what Mary Ann Doane calls a disembodied voice-over in combination with camera movement to create an open cinematic space which disjoins the internal experiences expressed by the voice-over from the outward appearances of the characters. Diop assembles a fictional mise-en-scène and recordings of male interviewees speaking at a workshop held in Seine-Saint-Denis on the subject of intimacy. As the camera pans slowly across a group of men, it is unclear which body is the visual representation of the narration. Calling upon Michel Chion’s audiovisual contract and its rupture in Vers la tendresse, this article addresses how a dissonance between image and sound permits one voice to accompany several different bodies, an effect that reveals and dismantles the building blocks of the narrator’s isolation. Viewed through the framework of cinémamonde and its decentering approaches, Vers la tendresse underscores the flexibility of the film space and, consequently, social boundaries, to shed light on how we intentionally or unintentionally constitute others in society.","PeriodicalId":437764,"journal":{"name":"Contemporary French Civilization: Volume 47, Issue 1","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122058425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1