Studies in French Cinema最新文献

{"title":"Neoliberal violence and aesthetic resistance in Abderrahmane Sissako’s Bamako (2006)","authors":"J. S. Williams","doi":"10.1080/14715880.2017.1356136","DOIUrl":"https://doi.org/10.1080/14715880.2017.1356136","url":null,"abstract":"Abstract Abderrahmane Sissako's celebrated Bamako (2006) stages a public trial of the debt policies of the International Monetary Fund and World Bank in Africa in a shared courtyard in Bamako. By putting both western and African film aesthetics and modes of spectatorship also on trial through formal strategies of address and mise en scène, it appears a stylised return to the politically engaged social realism of Ousmane Sembène. Yet, by allowing an astonishing array of matter (human and non-human, real and fictional) to drift graphically into its frame and intrude into the very law of the economic and geopolitical, Bamako also insists on material process and aesthetic friction, opening up new hybrid spaces of spectatorial speculation and interpretation in postcolonial art cinema not bound by the demands of allegory and ideological thinking. Focusing in close detail on the intricate, self-reflexive rifts and fractures of montage in two discrete episodes (an extended scene of migration testimony, a suicide followed by funeral procession), the author shows how Sissako’s poetic investment in form not only exposes but also directly resists the hegemonic violence the film implacably relates. Such formations of violent beauty demand we reconceive the very nature of political aesthetics and the function of screen violence.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1356136","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45758244","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}

{"title":"Beyond a carnival of zombies: the economic problem of ‘aliveness’ in Laurent Cantet’s Vers le sud","authors":"Andrew Asibong","doi":"10.1080/14715880.2017.1416328","DOIUrl":"https://doi.org/10.1080/14715880.2017.1416328","url":null,"abstract":"Abstract Laurent Cantet’s film Vers le sud (2005), based on three short stories by the Haitian-Canadian author Dany Laferrière, explores the problems of ‘aliveness’ and ‘deadness’, both physical and psychical, questioning the systemic and emotional methods by which these states become racialised and concomitantly commodified. Central to the film’s living potency is the acuity of its politicised analysis: from start to finish, Vers le sud shines an unswerving spotlight on the simultaneous precariousness and over-exposure of certain kinds of Black (in this case, poor Haitian adolescents’ and children’s) lives. The film’s politics, grounded in a lucid presentation of the material and ideological conditions of racialised inequality on which neo-colonial, neo-liberal (and, in this case, sexualised) tourism takes place, are combined with a specifically cinematic critique of the gaze of the wealthy, White female subject who buys the power not only to look at this life, but also, vampirically, to ingest its perceived qualities of vitality. Politics and aesthetics come together in the film to deconstruct a set of (frequently masked and insidious) operations formed at the disavowed crossroads of capitalist, racist and child-abusing phantasies of corporeal and emotional appropriation.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1416328","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46856364","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}

{"title":"Tracing a history of terrorism in Rachid Bouchareb’s films: London River (2009), Hors la loi (2010) and La Route d’Istanbul (2016)","authors":"Ipek A Celik Rappas","doi":"10.1080/14715880.2017.1419615","DOIUrl":"https://doi.org/10.1080/14715880.2017.1419615","url":null,"abstract":"Abstract This article examines Rachid Bouchareb’s London River, Hors la loi and La Route d’Istanbul. The trilogy explores terrorism’s many forms that range from anti-colonial and ethno-national to state and jihadist terror in the twentieth century. Hors la loi, a narrative of anti-colonial Algerian terrorism, exposes the juxtaposing meanings of being outside the law – as victims of the unjust colonial law and as a strategy to use victimhood as a weapon. London River and La Route d’Istanbul, on the other hand, by focusing on the grief of politically neutral parents, leave the origins and causes of jihadist terrorism unexplored.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1419615","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60253032","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}

{"title":"‘Authoring’ terrorism in Aziz Saâdallah’s Le Temps du terrorisme","authors":"S. Petty","doi":"10.1080/14715880.2017.1411576","DOIUrl":"https://doi.org/10.1080/14715880.2017.1411576","url":null,"abstract":"Abstract This essay explores how the Moroccan film Le Temps du terrorisme uses the frame of the artistic/creative process to stage a study of religious fanaticism and its tragic consequences. Drawing on melorealism, the filmmaker uses tropes of comedy and farce already familiar to his theatre and television audiences, but he also layers his text with self-reflexive strategies of direct address and narrator as witness. These devices work to bridge the distance between fiction and reality, and author and audience. As filmmaker, Aziz Saâdallah forges a personal relationship between artist and viewer and carves out a space for a dialectics of the artistic process: demanding an active audience, posing questions and forcing the viewer to think. He thus seeks to raise debate across a wide range of spectators and poses complex questions of responsibility, tolerance and the role of artistic expression in the present-day times of terrorism.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1411576","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44177959","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}

{"title":"In my own country: internal exile in Rachida and Viva Laldjérie","authors":"Greta Bliss","doi":"10.1080/14715880.2017.1413523","DOIUrl":"https://doi.org/10.1080/14715880.2017.1413523","url":null,"abstract":"Abstract This article discusses the critical portrayal of displacement, violence and trauma in two feature-length fiction films released just after the Algerian civil conflict (1991–2001): Rachida (Yamina Bachir-Chouikh, 2002) and Viva Laldjérie (Nadir Moknèche, 2004). In each film, the domestic displacement of a mother–daughter duo represents the experiences of a populace ‘exile[d] in [its] own country’ (Rachida). Images depicting the condition of ‘internal exile’ reflect a pervasive sense of fear, instances of anti-civilian violence and the difficulty of transcending historical structures such as gender codes and state power. Depicting figures of internal exile offers a radical visual testimony to a country long deprived of history and memory by official policies of amnesia, including censorship. Bachir-Chouikh and Moknèche use contrasting techniques to reveal undercurrents of outrage, malaise and dégoûtage (disgust) among Algerians, not only at the sheer horror of terrorism and other forms of violence, but also at the potential complicity of the authoritarian state in the atrocities of Algeria’s ‘black decade’.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1413523","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49184539","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}

{"title":"The terrorist as ennemi intime in French and Francophone cinema","authors":"Maria Flood, Florence Martin","doi":"10.1080/14715880.2018.1531338","DOIUrl":"https://doi.org/10.1080/14715880.2018.1531338","url":null,"abstract":"Characterisations of the post 9–11 world we inhabit have by now become worn-out clichés evocative of pre-modern wars of religion: the ‘religious century’ (allegedly predicted by Malraux in 1972) of a ‘clash of civilizations’ (Huntington 1996) has turned into the epoch of a ‘global war on terror’ (Bush 2001) that has displaced populations and created a ‘flood of refugees’ (themselves suspected of terrorism) in Europe. The terrorism craze, imaged and relayed seemingly ad infinitum in the media worldwide, has reached horrific proportions. Artists and filmmakers have imaged it in distinct creative ways, carefully decanting facts from fiction, and dissecting the emotional impacts on the public from the spectacle of terrorist attacks. This issue deals with the French and Francophone representations on film, rendered all the more urgent by the attacks in Morocco (in Casablanca on 16 May 2003), Tunisia (in Tunis on 18 March 2015), France (in Paris on 13 November 2015), and the immediate political knee-jerk reactions that fed into the terrorism phobia. Indeed, although European citizens perpetrated the attacks, migrant ‘flooding’ was blamed for them, thus shoring up a pre-existing ‘us vs. them’ discourse against migrants. For terrorism has become an obsession from the late twentieth century on in political discourse. In 1987, postcolonial and cultural theorist Edward Said argued against the hyperbolic mania and inflated rhetoric of what he called the recent ‘terrorism craze’: terrorism, particularly terrorism committed by nominally ‘Muslim’ agents, has supplanted Communism as ‘public enemy number one’ (1987, 195), and assumed an oversized role as cultural bogeyman in the Western public consciousness. This aggrandisement of the terrorist threat, prescient Said argued, serves a number of functions (that are well known today): it mobilises public opinion for foreign wars, legitimating ‘various sorts of murderous action’; it institutionalises ‘the denial and avoidance of history’ (195); and it serves to redirect ‘careful scrutiny of the government’s domestic and foreign policies’ (195). The semantic field of terrorism studies then becomes saturated by magnified, Manichean rhetoric, seeking to construct an opposition between the terrorised West and the terrorist Other: ‘“We” are never terrorists; it’s the Moslems, Arabs and Communists who are’ (198). Benjamin Barber would later characterise this ‘us versus them’ dichotomy as the conflict between the regressive, traditionalist movements of ‘jihad’ and the allconsuming force of capitalism – or ‘McWorld’ (1992). Samuel Huntingdon more polemically theorised the ‘West versus the Other’ binary as a ‘clash of civilizations’ (Huntington 1996) between the Muslim and the non-Muslim worlds. The terrorist threat elevated to the level of a civilisational menace by a force of radical evil makes it easier to ignore the role played by the West in histories of colonialism and postcolonial domination, as well as the on-going oc","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1531338","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46561412","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}

{"title":"Theses on French and Francophone cinema 2016–2018","authors":"P. Powrie","doi":"10.1080/14715880.2019.1596595","DOIUrl":"https://doi.org/10.1080/14715880.2019.1596595","url":null,"abstract":"Allaoui, Mounir. 2016. ‘Dialogues interculturels entre la critique et les institutions cinématographiques en France et le “cinéma d’auteur asiatique” (Corée du Sud, Japon, Taïwan): De la notion de “nouvelle vague” à la réalisation de films de cinéastes asiatiques en France’, Montpellier 3, France. Amaral, Genevieve M. 2017. ‘Act Six: Aristocracy and History in Interwar French Literature and Film’, Northwestern, USA. Astourian, Laure Maude. 2016. ‘Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign 1954–1968’, Columbia, USA. Azzouz, Aziza. 2016. ‘L’espace domestique: Dialectique intérieur/extérieur à la lumière de la filmographie de Nouri Bouzid (1986–2006): L’homme de cendres: Cas d’analyse’, Rennes, France. Bellan, Katharina. 2017. ‘Marseille filmée: Images, histoire, mémoires 1921–2011’, AixMarseille, France. Billaut, Manon. 2017. ‘André Antoine, metteur en scène de la réalité: Une expérimentation appliquée au cinéma (1915–1928)’, Sorbonne Paris Cité, France. Bouarour, Sabrina. 2018. ‘Les masculinités dans les films musicaux et les mélodrames de Jacques Demy et Vincente Minnelli’, Sorbonne Paris Cité, France. Bradbury-Rance, Clara. 2016. ‘Figuring the Lesbian: Queer Feminist Readings of Cinema in the Era of the Visible’, Manchester, UK. Cadalanu, Marie. 2016. ‘Le film musical français dans les années trente: Constitution d’un genre?’, Caen, France. Cao, Shuai. 2016. ‘La politique publique du cinéma en France: Enjeux, stratégies et perspectives’, Dijon, France. Castro, Jennifer de. 2017. ‘Le Festival de Cannes et la promotion du cinéma (1946– 1972): Le 7ème art, un objet culturel protéiforme au service du prestige national’, Sorbonne Paris Cité, France. Champomier, Emmanuelle. 2018. ‘Contribution à l’histoire de la presse cinématographique française: Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940’, Sorbonne Paris Cité, France. Chen, Chieh-Yao, 2017. ‘Les figurants dans les films de Jean Renoir: Modernité des anonymes et méthode de l’égalité au cinéma’, Sorbonne Paris Cité, France. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 356–358 https://doi.org/10.1080/14715880.2019.1596595","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2019.1596595","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47271339","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}

{"title":"Books published on French and Francophone cinema in 2018","authors":"P. Powrie","doi":"10.1080/14715880.2019.1582264","DOIUrl":"https://doi.org/10.1080/14715880.2019.1582264","url":null,"abstract":"Abadie, Shahram. Architecture des salles obscures: Paris, 1907-1939: Paris: AFHRC. Armes, Roy. Roots of the New Arab Film. Bloomington: Indiana University Press. Aurouet, Carole. Le Cinéma de Guillaume Apollinaire: Des manuscrits inédits pour un nouvel éclairage. Paris: Grenelle. Aventin, Christine. Breillat, des yeux le ventre. Bruxelles: Espace nord. Bazin, André. Écrits complets. 2 vols. Edited by Hervé Joubert-Laurencin. Paris: Macula. Bazin, André. Selected Writings 1943–1958. Translated by Timothy Barnard. New Brunswick: Rutgers University Press. Beausson-Diagne, Nadege, et al. Noire n’est pas mon métier. Paris: Seuil. Bert, Jean-François Pioud. Baisers volés: De François Truffaut. Paris: Grenelle. Bloom, Michelle E. Contemporary Sino-French Cinemas: Absent Fathers, Banned Books, and Red Balloons. Honolulu: University of Hawai’ï Press. Boutang, Adrienne. Hugo Clémot, Laurent Le Forestier, Laurent Jullier, Raphaëlle Moine, and Luc Vancheri. L’Analyse des films en pratique: 31 exemples commentés d’analyse filmique. Paris: Armand Colin. Brett, Oliver. Performing Place in French and Italian Queer Documentary Film: Space and Proust’s Lieu Factice. Basingstoke: Palgrave Macmillan. Chahine, Youssef. Le Révolutionnaire tranquille (Interviewed by Tewfik Hakem for France-Culture). Nantes: Capricci. Clémot, Hugo. Cinéthique. Paris: Vrin. Cowans, Jon. Film and Colonialism in the Sixties: The Anti-Colonialist Turn in the US, Britain, and France. London: Routledge. De Haas, Patrick. Cinéma absolu: Avant-garde 1920-1930. Paris: Macula. Dousteyssier-Khoze, Catherine. Claude Chabrol’s Aesthetics of Opacity. Edinburgh: Edinburgh University Press. Dufays, Sophie, Dominique Nasta, and Marie Cadalanu., edsConnaît-on la chanson?: Usages de la chanson dans les cinémas d’Europe et d’Amérique Latine depuis 1960. Bern: Peter Lang. Faroult, David. Godard: Inventions d’un cinéma politique. Paris: Les Prairies ordinaires. Forest, Claude. Production et financement du cinéma en Afrique sud saharienne francophone (19602018). Paris: L’Harmattan. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 353–355 https://doi.org/10.1080/14715880.2019.1582264","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2019.1582264","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46956850","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}

{"title":"‘C’était moi mais ce n’était pas moi’: portrayal of the disabled body in Catherine Breillat’s Abus de faiblesse (2013)","authors":"K. Dooley","doi":"10.1080/14715880.2017.1389426","DOIUrl":"https://doi.org/10.1080/14715880.2017.1389426","url":null,"abstract":"Abstract Writer/director Catherine Breillat’s most recent film, Abus de faiblesse (2013), explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director Maud (Breillat’s alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat’s previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as ‘other’. With reference to scholarly work on disability and the ageing female body, the article suggests that Maud’s sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the ageing female body.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1389426","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48523366","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}

{"title":"Intermediality and gesture: idealising the craft of filmmaking in Agnès Varda’s Lions Love (… and Lies)","authors":"F. Giraud","doi":"10.1080/14715880.2018.1448957","DOIUrl":"https://doi.org/10.1080/14715880.2018.1448957","url":null,"abstract":"Abstract Made on the fringes of the Hollywood industry in 1969, Lions Love (… and Lies) is little known in Agnès Varda’s filmography. Instead of considering it as an isolated experimental attempt or as an ephemeral digression, the author argues that Lions Love occupies a pivotal position in Varda’s cinema. The film brings to the fore key theoretical aspects of her aesthetics, such as the use of the classical arts as a source of inspiration filtering through the mise en scène and contrasting with its modernist features, the emphasis on the tangible reality of the cinematic medium, and finally the exhibition of the filmmaker’s practice. For the first time in her career, Varda appears herself behind and before the camera. In this perspective, the author suggests analysing Lions Love in relation to her later films such as Les Glaneurs et la glaneuse (2000), which develops similar ideas, gestures and motifs. Inspired by Andy Warhol and pop art, but also by Picasso’s neoclassical etchings, Varda creates a self-reflexive collage in which she idealises the craft of filmmaking in response to the Hollywood industry.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1448957","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43663566","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}