Studies in French Cinema最新文献

{"title":"Happily never after: the visual politics of contemporary French interracial romantic comedy","authors":"Mackenzie Leadston","doi":"10.1080/14715880.2018.1526518","DOIUrl":"https://doi.org/10.1080/14715880.2018.1526518","url":null,"abstract":"ABSTRACT The term humour communautaire has been adopted to describe the widely popular genre of ethnic comedy cinema in France, films both praised for their ability to bring together diverse groups through humour while also raising scepticism as to whether a genre reliant upon stereotypes is not simply producing racist rhetoric. Such typecasting is particularly salient when non-European characters are juxtaposed against white counterparts, notably the case in films about interracial marriage. While stereotypes are certainly an important aspect of the representation of race in these films, this paper deviates from this typical reading to examine instead how the mise en scene in Romuald & Juliette (1989) and Qu’est-ce qu’on a fait au Bon Dieu ? (2014) undercuts narrative unity through spatial hierarchies and visual separation of racially marked bodies and white French characters. By interpreting the politics of representation in contemporary interracial comedies through the colonial and postcolonial theories of Albert Memmi and Frantz Fanon, it argues that the films ultimately portray the impossibility of complete cohesion as found in colonial-era cinema.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1526518","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45840021","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":"Ideological figuration in Rohmer’s first two Moral Tales: ‘voice of memory’, clinamen of the image, and colonial fantasies","authors":"A. Castaldo","doi":"10.1080/14715880.2018.1511031","DOIUrl":"https://doi.org/10.1080/14715880.2018.1511031","url":null,"abstract":"ABSTRACT On the surface, Rohmer’s first two Moral Tales deal with romantic episodes in the lives of young people. As with his other works, here the director does not make explicit his political point of view. In this paper, the author shows how Rohmer’s construction of these stories functions as a compensatory figuration through which he could cope with the historical problems of his time, namely the Algerian War, which weighed heavily on him both professionally and intellectually in his position as editor in chief of Cahiers du cinéma. The author analyses how the formal construction of these two films reflects the ideological framework projected onto them, particularly through Rohmer’s use of memorial perspective (in the form of voice-over) that drives the stories, both told as youthful memories. At the same time, the author shows how this ideology intertwines with a self-deconstructive agency able to undo the coherent production of meaning. This reading shows how Rohmer’s depiction of relationships between men and women – so important for the later development of his cinema – both conceals and transforms a colonial ideology that needed to find a new way to express itself to survive in a supposedly ‘post-colonial’ France.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1511031","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44480039","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 very worst things’: violence and vulnerability in Djamila Sahraoui’s Yema (2012)","authors":"Maria Flood","doi":"10.1080/14715880.2018.1511182","DOIUrl":"https://doi.org/10.1080/14715880.2018.1511182","url":null,"abstract":"ABSTRACT This article explores the connections between vulnerability, gender and terrorist violence in relation to Algerian filmmaker Djamila Sahraoui’s Yema (2012). The film is situated in relation to Sahraoui’s oeuvre, and within wider debates around the changing nature of political violence and its representation in Maghrebi and Hollywood cinema. This comparison underlines Yema’s innovatory formal and thematic focus on slow narrative time, sparse aesthetics and fragile, intimate images. The article then examines the concept of vulnerability in relation to terrorism, in particular linking Sahraoui’s choice of formal techniques to the film’s thematic staging of various modes of physical and psychical vulnerability. The allegorical and mythological motifs used in Yema are considered in relation to the gendering of the figures of victim and agent in the film. Through a feminist reconfiguration of the myth of Medea, the article suggests that in the film’s dramatisation of a mother who inflicts suffering, larger questions are raised about personal and political responses to the feelings of exposure that terrorist violence engenders.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1511182","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43282937","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":"Putting the dead to work: making sense of worker suicide in contemporary French and Francophone Belgian film","authors":"M. O'shaughnessy","doi":"10.1080/14715880.2018.1493645","DOIUrl":"https://doi.org/10.1080/14715880.2018.1493645","url":null,"abstract":"ABSTRACT Contemporary French and Francophone Belgian cinema has produced a wave of worker suicides that outdoes even Jean Gabin’s repeated cinematic deaths of the later 1930s. This article discusses its significance in the context of neo-liberalism and develops an analytical toolkit for making sense of it, taking its main theoretical inspirations from Slavoj Žižek’s theorisation of violence and Carl Cederström and Peter Fleming’s analysis of worker suicide, but also drawing on Michel Foucault’s account of parrhesia as the scandalous living of another life in this life. The article suggests that most of the films considered use the apparently subjective violence of worker suicide to force the unseen violences of neo-liberal labour into view, while only a few move beyond this denunciatory position to probe both what a parrhesiastic exit from neo-liberal labour, a killing of the worker-in-the-self, might look like and all that prevents it.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1493645","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45648353","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":"Reframing the spaces of French cinema","authors":"J. O’Dwyer","doi":"10.1080/14715880.2018.1510655","DOIUrl":"https://doi.org/10.1080/14715880.2018.1510655","url":null,"abstract":"As a country which offered an intellectual home to post-1968 spatial theory, and whose identity and frame of geopolitical influence is expressed in geometric terms (Hexagone, Francosphere), France ...","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1510655","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46394196","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":"Conversation avec Claire Simon : autour de Gare du Nord (2013) et Géographie humaine (2013)","authors":"E. Thomas","doi":"10.1080/14715880.2017.1323466","DOIUrl":"https://doi.org/10.1080/14715880.2017.1323466","url":null,"abstract":"Abstract J’ai découvert Gare du Nord (2013) au moment de sa sortie en salle à Lille. Je suis retournée plusieurs fois le voir au Métropole, persuadée qu’il y avait dans ce film – mêlant fiction et documentaire – quelque chose d’essentiel qui était dit sur la France actuelle, sur nos liens, sur la fragilité de nos mythes et sur le recours à l’imaginaire. Sur la vie. Quelque chose qui n’était pas dit ailleurs. Lorsque quelques mois plus tard j’ai visionné le documentaire Géographie humaine (coffret DVD 2014), le même engouement ressenti m’a déterminé à réfléchir et à travailler sur ce qui me paraît relever d’une subtile anthropologie des lieux et de la société française. Pour ce faire, j’ai pris contact, à l’occasion de cette co-direction de la revue, avec Claire Simon. La réalisatrice m’a reçue chez elle en avril 2015 pour une conversation qui m’a semblé aussi précieuse qu’éclairante.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1323466","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48953167","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":"Consuming Palestine: anticapitalism and anticolonialism in Jean-Luc Godard’s Ici et ailleurs","authors":"Olivia C. Harrison","doi":"10.1080/14715880.2017.1293773","DOIUrl":"https://doi.org/10.1080/14715880.2017.1293773","url":null,"abstract":"Abstract This article examines the historical conjunction of anticapitalist and anticolonial movements in France in the late 1960s and early 1970s through a close reading of Jean-Luc Godard’s short film on Vietnam, Camera-eye, and the pro-Palestinian film he made in collaboration with Jean-Pierre Gorin and Anne-Marie Miéville, Ici et ailleurs. Though Ici et ailleurs is exemplary of the double critique of capital and empire that crystallised in the Marxist–Leninist and Maoist discourses of the late 1960s and early 1970s, Godard and Miéville’s film does not take for granted the convergence of progressive leftist and anticolonial discourse. On the contrary, it deconstructs the facile consumption of Third World revolutions in order to pose the conditions of a truly political engagement with anticolonial struggles. The apparently unrelated critique of consumer culture in what was initially a propaganda film for the Palestinian resistance enables Godard and Miéville to advocate for ‘the cause of the other’ without turning Palestine into an object of consumption for a complacent, post-revolutionary left.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1293773","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49020276","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":"Editorial: documentary","authors":"E. Thomas","doi":"10.1080/14715880.2017.1382250","DOIUrl":"https://doi.org/10.1080/14715880.2017.1382250","url":null,"abstract":"Dans Jean Rouch, premier film: 1947–1991, devant la caméra de Dominique Dubosc et face à trois interlocuteurs,1 Rouch évoque ses débuts de cinéaste et le devenir de son premier film documentaire effectué en Afrique. Au cours d’un voyage il filme à la frontière du Mali et du Niger une chasse à l’hippopotame. Il prend soin de décrire la technique, en capturant notamment la préparation des harpons, et de saisir le rituel de la chasse elle-même. De retour à Paris, ce bout de film, d’une durée de 20 minutes, est projeté au Musée de l’Homme devant Lévi-Strauss, Leroi Gouhan, Griaule et Leiris. L’effort est salué. Après une nouvelle projection dans une cave parisienne, Rouch se retrouve indirectement mis en contact avec le directeur des Actualités françaises et, par conséquent, une possibilité de production. Ce dernier se déplace pour visionner le film et « l’affaire est faite! » Mais le film, initialement tourné en 16 mm, sera gonflé à 35 mm, réduit à 10 minutes et Rouch devra rédiger de courts commentaires explicitant ce qui se déroule à l’image. Nous dit Rouch: « Et un jour on voit un monstre qui s’appelle Au pays des Mages Noirs [1947] ». Aux rushs de tournages, le directeur a fait rajouter différents plans sans lien avec le film – des lions, des girafes... – « une musique à la confiture » et surtout un commentaire aux relents colonialistes lu par un radioreporter du Tour de France. Et ce film marche, indique Rouch qui précise aussitôt : « J’avais honte ». Ce que nous donne à voir le cadre de Dominique Dubosc est une opération de réappropriation des images. Pour ce faire, Rouch se focalisera sur la séquence finale de son film, coupera le son et commentera en direct ces images filmées en 1947. Il terminera ainsi sont premier film en 1991. La célébration, cette année, du centenaire de Jean Rouch est une occasion d’introduire la question documentaire et ce détour par le film de Dominique Dubosc va nous permettre de soulever différents points concernant les débats toujours actuels autour de celle-ci. Considérons ainsi dans un premier temps, la question de la forme que prend un ensemble d’images issues d’un enregistrement du « réel ». Le documentaire – qui se constitue en un champ complexe pour le public des festivals, des salles de cinéma ou de la télévision – nous invite à considérer avec la plus grande prudence toute tentative de catégorisation et/ou de définition. Dans la formulation de Grierson, « l’idée documentaire ne demande rien de plus que porter à l’écran, par n’importe quel moyen, les préoccupations de notre temps, en frappant l’imagination et avec une observation aussi riche que possible » (Marsolais 1997, 49). Rien de plus ? En France et à l’étranger, de nombreuses approches – qu’elles soient esthétiques, théoriques, historiques, pragmatiques – inscrites dans divers débats interrogent encore aujourd’hui la notion même de documentaire, évoquant par exemple, l’idée de documentaire de création, création documentaire, film documentaire, documen","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1382250","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44528683","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":"Jean Rouch’s Moi, un Noir in the French New Wave","authors":"L. Astourian","doi":"10.1080/14715880.2017.1385324","DOIUrl":"https://doi.org/10.1080/14715880.2017.1385324","url":null,"abstract":"Abstract This article highlights the significance of Jean Rouch’s experimental ethnographic film Moi, un Noir (1958) in the genesis of the quintessential New Wave film, À bout de souffle (Jean-Luc Godard, 1960), taking seriously the idea expressed by several critics of the time that À bout de souffle was an ethnography of French youth. Following a close reading of Moi, un Noir and comparative readings of Moi, un Noir, À bout de souffle, and their French reception, the author briefly highlights Rouch’s influence on the other key film of the New Wave, Les 400 coups (François Truffaut, 1959). Rouch’s influence on the two emblematic films of the New Wave is particularly significant in light of his own turn, after years filming in France’s sub-Saharan African colonies, to making several films in metropolitan France. The central aim of this article is to elucidate the role of Rouch in the New Wave. An ancillary aim is to show that Moi, un Noir and À bout de souffle mark two key points in a striking shift in the cutting-edge French cinema of the late 1950s and 1960s: a growing inclination to survey metropolitan France as a suddenly exotic space, and to conceive of the French as viable ethnographic subjects.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1385324","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48208790","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":"Missing links : les traces de l’histoire dans le cinéma de Chantal Akerman","authors":"Anita Léandro","doi":"10.1080/14715880.2017.1306402","DOIUrl":"https://doi.org/10.1080/14715880.2017.1306402","url":null,"abstract":"Résumé Pour réaliser ses documentaires, Chantal Akerman a traversé des frontières en filmant des personnes souffrantes, menacées, vulnérables. Cette errance permanente dans les territoires des autres lui a permis d’élaborer au fil des films une mémoire à soi. Nous suivrons dans le cadre de cet article une trajectoire allant de D’Est à No Home Movie, son dernier film, en passant par Sud, De l’autre côté et Là-bas, des œuvres où l’approche du réel, toujours au bord de la fiction, trace une fuite en avant lui permettant de mieux comprendre les liens perdus de son origine juive.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1306402","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43024226","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}