Studies in French Cinema最新文献_第10页

A woman in a man’s world: La Banquière, money, transgression and the world of high finance 男人世界里的女人:银行、金钱、犯罪和高级金融世界

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077033

Diane Gabrysiak

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引用次数: 0

Claire Denis’s Capitalist Bastards 克莱尔·丹尼斯的《混蛋资本家》

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077036

Rosalind Galt

{"title":"Claire Denis’s Capitalist Bastards","authors":"Rosalind Galt","doi":"10.1080/14715880.2015.1077036","DOIUrl":"https://doi.org/10.1080/14715880.2015.1077036","url":null,"abstract":"The films of Claire Denis consistently make global systems visible, and do so in ways that are seductively sensory. This article analyses Denis’s film Les Salauds as a queasily affective staging of contemporary capitalism’s gendered hostility. It draws both on politically engaged theories of contemporary cinema and on the insights of affect theory to understand the film’s close imbrication of financial control and sexual exploitation. Les Salauds is almost entirely set in Paris, but it refers outward to Denis’s earlier films of transnational circulation, using Michel Subor’s performance as a monstrous exploiter as a point of commonality. The article analyses the figure of the ‘salaud’ in French culture, reading Subor’s character Laporte through Sartre. It goes on to examine how the class qualities of the salaud seep beyond character and out across the film text. What emerges is a threatening mise-en-scène that evokes the hostile condition of contemporary capitalism in its articulation of time, space and affect. Gender becomes the focus for this hostility, where economic relations are played out across the body of Justine, the sexually tortured daughter. The article asks what kinds of resistance are imaginable in this oppressive milieu.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2015.1077036","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60251782","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: 2

Monnet changes everything? Capitalism, currency and crisis in Jacques Becker’s Touchez pas au grisbi (1954) and Jacques Audiard’s Un prophète (2009) 莫内改变了一切?资本主义、货币and crisis in雅克Becker’s碰grisbi》(1954)与雅克·Audiard’s一位先知(2009)

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077035

D. Oscherwitz

引用次数: 2

Money: now you see it now you don’t 钱:现在你看到了，现在你看不到了

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077031

Diane Gabrysiak, P. Powrie

引用次数: 2

Political depression and working practices in recent French cinema 近期法国电影中的政治萧条和工作实践

Studies in French Cinema Pub Date : 2015-05-04 DOI: 10.1080/14715880.2014.910981

G. Austin

引用次数: 2

Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works 改造时代的日常景象:让-吕克·戈达尔对现代性的艺术和政治反应在他的早期作品

Studies in French Cinema Pub Date : 2015-05-04 DOI: 10.1080/14715880.2014.987517

Ahmet Süner

{"title":"Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works","authors":"Ahmet Süner","doi":"10.1080/14715880.2014.987517","DOIUrl":"https://doi.org/10.1080/14715880.2014.987517","url":null,"abstract":"Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard’s often frenzied cinematic experimentations in his early movies may be understood as reflections on the political, cultural and historical issues of France in the 1950s and 60s. In his early films, Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity, while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard’s early work. To sketch this unconscious, the author refers to the larger context in which philosophers, cultural critics and filmmakers take issue with notions of the everyday, spectacle, style, resistance, festivity, consumerism, as well as with the signs of postwar modernity such as cars, modern households, traffic, polls and movies.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2014.987517","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60251448","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: 0

Sound, death and Amour 声音，死亡和爱情

Studies in French Cinema Pub Date : 2015-05-04 DOI: 10.1080/14715880.2014.906946

Vlad Dima

引用次数: 2

Touching Nancy’s ethics: death in Michael Haneke’s Amour 触动南茜的伦理:迈克尔·哈内克《爱》中的死亡

Studies in French Cinema Pub Date : 2015-04-08 DOI: 10.1080/14715880.2015.1018692

Milosz Paul Rosinski

{"title":"Touching Nancy’s ethics: death in Michael Haneke’s Amour","authors":"Milosz Paul Rosinski","doi":"10.1080/14715880.2015.1018692","DOIUrl":"https://doi.org/10.1080/14715880.2015.1018692","url":null,"abstract":"In the context of ‘New French Extremity’, Michael Haneke’s films are critically received as brutal and violent. Amour (2012) addresses political and ethical questions of the treatment of the dying within the aesthetics of intimate and provocative cinema. In this article, the author explores the provocative nature of Amour in contact with philosophical questions of death and care. He theorises death using Jean-Luc Nancy’s work on cinema, the body and ethics. Understanding death as a Nancean ‘blind spot’ – a coming to presence that unfolds and intensifies existential finitude – allows the author to centrally position the knowledge of Anne’s death in this expositional realm beyond representation. With the help of Nancy’s work, he fleshes out the evidence of Anne’s death as an intensified shared experience through the film, and analyses her corporeal ‘expeausition’. He positions Amour ontologically as a Nancean ‘transimmanent’ vehicle bringing the embodied immanence of carnal spectatorship and the transcendence of the topic of death in contact. In this reading, the film as ‘exscription’ of Anne’s body, as access proper to her body and skin, enables a sense of ‘being-with’ the images and touches upon ethics, death and the cinematic medium itself.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2015.1018692","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60251720","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: 5

Seemly economy: L’Argent’s aesthetic currency 得体的经济:拉金特的美学货币

Studies in French Cinema Pub Date : 2015-04-08 DOI: 10.1080/14715880.2015.1022344

Sean Desilets

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引用次数: 1

Female flânerie and coming of age: Henri Decoin’s Abus de confiance (1937) 女性与成年：亨利·德康的《顺从》（1937）

Studies in French Cinema Pub Date : 2015-04-08 DOI: 10.1080/14715880.2015.1020107

Jennifer Branlat

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引用次数: 0