Studies in French Cinema最新文献

{"title":"Beyond the entomological critique: re-thinking Rouch and African cinema","authors":"J. Berthe","doi":"10.1080/14715880.2017.1385325","DOIUrl":"https://doi.org/10.1080/14715880.2017.1385325","url":null,"abstract":"Abstract Having worked in West Africa for over 60 years, Jean Rouch has long been a contentious figure in African film circles. Though his collaborative and participatory methods aimed to challenge the colonial and postcolonial status quo, they did so from within the very structures and systems of support that secured the French presence in West Africa. Taking the prickly relationship between Rouch and Senegalese filmmaker Ousmane Sembène as a starting point, this essay argues that, while understandable and instructive in many respects, the distance maintained between Rouch and post-independence African filmmakers has done a disservice to Rouch’s collaborators hailing from West Africa, effectively effacing them from both French and African film histories. Given that African cinema is in a moment of profound transformation, the author contends that the time is ripe to open up a new kind of dialogue between Rouch and his African contemporaries.","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/10.1080/14715880.2017.1385325","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45310237","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":"Disruptive forms: the cinema of Jean Rouch","authors":"J. Berthe","doi":"10.1080/14715880.2017.1383745","DOIUrl":"https://doi.org/10.1080/14715880.2017.1383745","url":null,"abstract":"2017 marked the centenary of the birth of the French ethnographic filmmaker Jean Rouch. For many, the anniversary seemed an auspicious moment to revisit his expansive archive. In January, ambassadors, filmmakers, anthropologists and artists gathered at the Hôtel de Ville in Paris to announce an impressive programme of screenings and events – a yearlong celebration of the filmmaker’s singular vision, exuberant spirit and passion for cinema. Just as these centenary festivities began to unfold, Studies in French Cinema published a special issue on the French New Wave (2017). In the introduction, Douglas Morrey argued for the need to return to the New Wave by appealing, quite convincingly, to all that still ‘remains to be said’ about the films and figures associated with this era in French film history (109). This dossier aims to speak to and about both the interest piqued by the Rouch centenary events and the enduring resonance of French film culture of the 1950s and 1960s. Although Jacques Rivette referred to Rouch in 1968 as ‘le moteur de tout le cinéma français depuis dix ans’1(Aumont et al. 1968, 20), he continues to be positioned as a peripheral figure in most narratives about the New Wave, when and if he is mentioned at all. In many ways, the reticence around Rouch and his film work is understandable. A filmmaker, of course, Rouch was also an ethnographer employed by the Centre national de la recherche scientifique; since most of his research took place in West Africa (particularly in Niger), his films often focused on issues and individuals that felt distant to the concerns and day-to-day lives of those in metropolitan France. Furthermore, as experiments in what he came to call ‘shared anthropology’, even as early as the 1950s, Rouch’s film work illustrated a profound re-thinking of both anthropological and cinematic practice. Collaborating with his subjects and combining fiction and non-fiction techniques, Rouch developed an approach that blurred traditional distinctions between subject and observer, as well as those between documentary and fiction film. And though a handful of his films have circulated widely and received significant critical attention – Les Maîtres fous/Mad Masters (1955), Moi, un Noir/Me, A Black Man (1958), Chronique d’un été/Chronicle of a Summer (Jean Rouch and Edgar Morin, 1961) – his archive consists of over one hundred films, some still unfinished and others in various states of disrepair, shot over the course of a career that spanned six decades and several continents. Adding to this complexity is the fact that Rouch’s relationship to cinematic form was anything but faithful. Perhaps Jean-André Fieschi (1978) said it best when he wrote that the novelty of Rouch’s approach resided ‘surtout dans l’inconfort dont elle joue (et se joue), faisant flèche de tout bois, usant de techniques diverses, arpentant des espaces jusqu’à elle non-quadrillés, mêlant des procédés jusqu’à elle antinomiques, et ne se laissant enfermer ","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/10.1080/14715880.2017.1383745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46028525","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":"‘Prochainement: Arizona Jim contre Cagoulard’: framing the future of the Front populaire in Jean Renoir’s Le Crime de Monsieur Lange (1936)","authors":"Barry Nevin","doi":"10.1080/14715880.2016.1274576","DOIUrl":"https://doi.org/10.1080/14715880.2016.1274576","url":null,"abstract":"Abstract Gilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, an unfilmed screenplay written by Renoir during the making of Lange, this article argues that Renoir mobilises his signature techniques and proto-fascist iconography to reflexively criticise local attempts to implement socialist ideals in contemporary Paris.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1274576","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44917969","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 art of advertising happiness: Agnès Varda’s Le Bonheur and Pop Art","authors":"Kierran Argent Horner","doi":"10.1080/14715880.2017.1310576","DOIUrl":"https://doi.org/10.1080/14715880.2017.1310576","url":null,"abstract":"Abstract This paper argues that, further to the established artistic influences on Le Bonheur, for example vibrant Impressionist tableaux such as Édouard Manet’s Le Déjeuner sur l’herbe (1863) and Pierre-Auguste Renoir’s La Grenouillère (1869), Pop Art shapes both the aesthetic and the content of the film. As in the films of her friend Jean-Luc Godard, the paper argues, discrete images from Varda’s New Wave film critique contemporaneous advertising, principally that which is aimed at and objectifies women, in similar ways to Pop Art images of the era. Certainly, Pop’s images abounded with semi-nude and nude women, some of whom were not ironically presented but offered as a continuation of advertising’s gallery of sexualised female bodies. Andreas Huyssen argues, however, that Pop as a critical medium was cultivated by European artists in the 1960s who were ‘trying to develop an art of social criticism’. The author draws similar links between Pop Art, advertising and the cinema, locating those moments at which they interweave in Le Bonheur to reflect the Pop Art form and message. He suggests that the appropriation of consumerist imagery in Varda’s film, as in Pop Art, is an ironic counterpoint used to critique society as perceived by the artist.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1310576","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46241981","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":"Bibliography for French and francophone cinema 2016–2017","authors":"P. Powrie","doi":"10.1080/14715880.2018.1439351","DOIUrl":"https://doi.org/10.1080/14715880.2018.1439351","url":null,"abstract":"","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2018.1439351","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48711597","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":"Le documentaire en 360°, un point de vue impossible ? Étude de NYT VR et Arte 360","authors":"Réjane Hamus-Vallée","doi":"10.1080/14715880.2017.1324097","DOIUrl":"https://doi.org/10.1080/14715880.2017.1324097","url":null,"abstract":"Résumé Alors que les applications dédiées aux films en 360, aussi appelés film en réalité virtuelle se déploient, de nombreux documentaires et reportages se retrouvent dans des territoires très différents. Pourquoi le documentaire se retrouve aussi nettement dans cette technologie ? Quelles questions pose le dispositif au geste documentaire ? Dans un premier temps, cet article analyser les bases historiques et technologiques du « 360 » et de la « réalité virtuelle ». Puis il se penchera plus particulièrement sur deux applications, la NYT VR et Arte 360. Quelles formes pour le documentaire en 360 dans ces deux exemples ? En quoi le 360, avec ses contraintes spécifiques, questionne à nouveau, comme ce fut le cas de manière forte il y a quelques années pour le web-documentaire, les spécificités du documentaire en général ?","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1324097","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43182534","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":"Champ-contre-champ: Slon/Iskra new social documentary through the lens of Jean-Louis Comolli’s militant cinephilia","authors":"Martine Guyot-Bender","doi":"10.1080/14715880.2017.1350802","DOIUrl":"https://doi.org/10.1080/14715880.2017.1350802","url":null,"abstract":"Abstract Champ-contre-champ examines the writings of Jean-Louis Comolli, theorist and historian of political cinema, in parallel with the practices of grass-roots film documentary producer Slon/Iskra. As two of the main players of the 1960s cinéma militant, Comolli and Slon/Iskra stand as exceptions in the context of political cinema as they both have continuously and relentlessly worked for the survival of a certain ethics and form of cinema politic until today, 50 years later. The article compares Comolli’s assertions that ‘true political cinema’ has disappeared as filmmakers, including politically engaged ones, became more dependent on television for financing, with Slon/Iskra’s practices and the forms of the films it supports. The article gives overdue visibility to Comolli’s theories as well as to the resilience of Slon/Iskra in resisting the pressures of mainstream cinema.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1350802","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43015798","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":"Briskness and fatigue: Le Père de mes enfants as melodrama, precarity and impasse","authors":"Michael Stewart","doi":"10.1080/14715880.2017.1334178","DOIUrl":"https://doi.org/10.1080/14715880.2017.1334178","url":null,"abstract":"Abstract This article examines Le Père de mes enfants (Mia Hansen-Løve, 2009) as a family melodrama and as an example of the cinema of precarity. The article defines both of these terms and applies them to Le Père de mes enfants, arguing that the film effectively combines pathetic melodrama with the cinema of precarity. More specifically, it is argued that Le Père de mes enfants constitutes situation and impasse as they are defined by scholars of film melodrama and the cinema of precarity. Impasse is given particular substance by Le Père de mes enfants’ central figure, Grégoire; and via Grégoire as a maximised type, it is argued that Le Père de mes enfants vividly combines melodrama, impasse and charisma. Charisma is defined, and it is argued that this term can be linked to established accounts of film melodrama, as well as to the expectations made of precarious subjects. As well as Grégoire, the article considers Le Père de mes enfants’ distinctive form, and its later focus on Sylvia. In all these respects, it is argued that Le Père de mes enfants constitutes a distinctive form of impasse and the cinema of precarity, as well as an emergent form of family melodrama.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1334178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45696121","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":"Realism’s new horizons: Roger Leenhardt’s theoretical shift after Trois portraits d’un oiseau qui n’existe pas/Three Portraits of a Bird that Doesn’t Exist (Robert Lapoujade, 1963)","authors":"Colin Burnett","doi":"10.1080/14715880.2017.1332808","DOIUrl":"https://doi.org/10.1080/14715880.2017.1332808","url":null,"abstract":"Abstract Late in his career, filmmaker and theorist Roger Leenhardt (1903–1985) published two enigmatic statements that suggest that he was increasingly sceptical of the idea, which he himself had defended in the 1930s, that film’s realist potential depended on the medium’s photochemical capacity to create faithful imprints of reality. In previously unexamined passages from his essay ‘Cinéma et les arts plastiques’ (1964) and his interview-based memoir Les Yeux ouverts (1979), he argued that animated shorts, along with the film sur l’art, were opening onto new vistas of exploration in realist aesthetics. This article addresses the conditions that led to, and the implications of, this seemingly paradoxical ‘lost development’ in French realist thought. By situating Leenhardt’s late theory in its proper context, namely his brief collaboration with painter Robert Lapoujade on the abstract animation Trois portraits d’un oiseau qui n’existe pas (Robert Lapoujade, 1963), we not only uncover the theory’s social and conceptual roots, but discover a fresh approach to a paradox that continues to grip film theorists: whether cinema can continue to be a means for making discoveries about reality in an age where new media grants filmmakers the power to manipulate every aspect of the image.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1332808","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48407521","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":"L’émergence des comédies communautaires dans le cinéma français : ambiguïtés et paradoxes","authors":"M. Rosello","doi":"10.1080/14715880.2016.1264752","DOIUrl":"https://doi.org/10.1080/14715880.2016.1264752","url":null,"abstract":"AbstractCet article suggere que depuis le debut du vingt-et-unieme siecle, un nouveau genre a fait son apparition en France : la comedie communautaire. A l’ecoute des analyses politiques et esthetiques qui ont accueilli des films comme Intouchables (Eric Toledano and Oliver Nakache, 2011), Qu’est-ce qu’on a fait au Bon Dieu ? (Philippe de Chauveron, 2014) ou Bienvenue chez les Ch’tis (Dany Boon, 2008) cette etude se demande dans quelle mesure les comedies communautaires contribuent a l’ecriture et la recriture des discours sur le national. Dans une premiere partie, l’article examine le rapport entre le genre de la comedie communautaire et la notion controversee de “communautarisme” en France. La deuxieme partie se penche sur Rue Mandar (Idit Cebula, 2013), une comedie qui nous fait sourire d’une famille juive dont les membres ont une connaissance rudimentaire des rituels religieux. Le film nous invite a reflechir a la facon dont les comedies communautaires imaginent et creent un public initie ou ignorant....","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1264752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45239227","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}