Studies in French Cinema最新文献

{"title":"Jusqu’au bout de la Nouvelle Vague: Claude Chabrol’s (and Paul Gégauff’s) Une partie de plaisir","authors":"M. Grosoli","doi":"10.1080/14715880.2017.1315525","DOIUrl":"https://doi.org/10.1080/14715880.2017.1315525","url":null,"abstract":"Abstract This paper analyses Claude Chabrol’s 1975 Une partie de plaisir, and aims to show that many of its features seem to implicitly belie the premises tacitly underlying the Nouvelle Vague movement, thereby ideally marking its end. It does so by particularly focusing on the peculiar circumstances behind the production of that film (starring Paul Gégauff, who also wrote the script, in a largely autobiographical role along with his real-life former wife), as well as on the elements that Chabrol borrowed from the films of his masters, Alfred Hitchcock and Fritz Lang. Ultimately, the author argues that Philippe, the hero of this film, overtly enacts the male chauvinism that covertly informs a significant part of the Nouvelle Vague, and overcomes it by destroying himself. His unsuccessful pursuit of the bourgeois patriarchal dream of a perfect balance between marriage and adultery can be regarded as matching the Nouvelle Vague’s short-lived utopia of reproducing Hollywood’s balance between the rule and its exception, namely between the law and its transgression (this is what ultimately the ‘politique des auteurs’ was about), by staying faithful to Hollywood’s classicism while recurring to fully modern cinematic means.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1315525","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45383324","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: the first wave","authors":"Douglas Morrey","doi":"10.1080/14715880.2017.1306310","DOIUrl":"https://doi.org/10.1080/14715880.2017.1306310","url":null,"abstract":"The Nouvelle Vague again? As scholars in the field will know, there is probably no era of French cinema, and no set of filmmakers, that have been studied as extensively as the New Wave, probably not even the Golden Age of the 1930s. Academic publishing continues to produce new books on these figures at an alarming rate. In the last five years alone, there has been a major new work on the New Wave as a cinematic phenomenon (Tweedie 2013) and a raft of significant new books on Truffaut (Andrew and Gillain 2013; Gouslan 2016; Solecki 2015), Godard (Conley and Kline 2014; Morgan 2013; Williams 2016; Witt 2013), Rohmer (Anderst 2014; de Baecque and Herpe 2014; Handyside 2013; Leigh 2012) and Varda (Bénézet 2014; Conway 2015; Neroni 2016). In addition, several directors associated with the New Wave have had beautifully produced collectors’ edition box sets of DVDs/Blu-ray Discs of their complete or partial filmographies released: Godard Politique (Gaumont, 2012), Tout(e) Varda (ARTE, 2012), Éric Rohmer Intégrale (Potemkine, 2013) and Planète Chris Marker (ARTE, 2013). And this is not to mention more peripheral figures like the composer Michel Legrand, a complete set of whose work with Jacques Demy was released on CD by Universal in 2013. There are two evident conclusions to be drawn from this proliferation of material: first, that the New Wave proper, of the late 1950s and early 1960s, continues to be a rich seam to mine for scholarship and critical appreciation; and second, that the long, prolific and innovative careers of many of the directors associated with the movement have effectively continued to shape the forms, the agenda and the international reception of French cinema in the half-century since the Nouvelle Vague. It is these presumptions that justify the current special issue. Those of us who teach the French New Wave, however, should not be surprised by this cottage industry of academic and audiovisual production that has grown up around the movement, since, year on year, experience confirms that the films of the early sixties continue to appeal to young people discovering for the first time a more broadly defined cinema, even as films from more recent decades (the 1980s and 1990s) are beginning to look dated. Is this because the New Wave is itself a movement associated with youth and that the preoccupations of young people (sex, alcohol, music, generational conflicts, competing intellectual and consumerist impulses, unformed but urgent revolt) remain more or less unchanged? Is it because the students’ excited discovery of the unsuspected formal possibilities of cinema resonates with a sense of the filmmakers’ own undisguised glee on discovering this for themselves? Or is it (since the marriage of form and content is the most basic lesson of New Wave theory) a combination of the two, a burgeoning sense that no other historical conjuncture in cinema has ever produced such a perfect combination of social renewal and stylistic ferment? It is p","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1306310","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44664878","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":"Questions of montage and filmic space in L’Amour fou and Out 1 by Jacques Rivette","authors":"Daniel Fairfax","doi":"10.1080/14715880.2017.1309626","DOIUrl":"https://doi.org/10.1080/14715880.2017.1309626","url":null,"abstract":"Abstract This article explores the practice and theory of two aspects of film form in the work of Jacques Rivette in the late 1960s and early 1970s: montage and filmic space. Under examination will be the two films he made during this period, L’Amour fou and Out 1, as well as two round tables for Cahiers du cinéma in 1969, in which Rivette was a participant, on montage and filmic space respectively (the latter was only published for the first time in 2016). The article will argue that Rivette is one of the major figures to have both theorised these issues in the cinema, and to have tested them in practice in his own filmmaking.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1309626","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46429128","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":"‘Up to our eyes in it’: theory and practice of widescreen in the French New Wave","authors":"Douglas Smith","doi":"10.1080/14715880.2017.1289708","DOIUrl":"https://doi.org/10.1080/14715880.2017.1289708","url":null,"abstract":"Abstract This article explores the relationship between widescreen and the New Wave. The new CinemaScope format arrived in France as the Cahiers du cinéma critics were elaborating the theoretical basis of what would become New Wave filmmaking. Many of the Cahiers critics (Bazin, Truffaut, Rohmer, Rivette) identified widescreen with the cinema of the future, suggesting that the New Wave would be widescreen. In fact, CinemaScope proved to be a relatively short-lived format and few New Wave directors employed it. In technological terms, the New Wave is much more closely identified with the lightweight equipment of location shooting. Nonetheless, the debates around the introduction of widescreen and the subsequent use of the scope format by Truffaut and Godard illuminate some of the crucial tensions within the New Wave and the culture of film criticism and cinephilia from which it developed. The arguments advanced in favour of widescreen in the mid 1950s were often contradictory and at cross-purposes, as were the filmmaking practices of Truffaut and Godard. Ultimately, the New Wave turned out not to be widescreen but the format nonetheless operated as a space offering a provisional resolution for some of the movement’s key contradictions.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1289708","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42807150","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":"‘Tu es déjà rentré?’ Trauma, narcissism and melancholy in François Ozon’s Sous le sable (2000)","authors":"Nicholas Ealy","doi":"10.1080/14715880.2017.1288498","DOIUrl":"https://doi.org/10.1080/14715880.2017.1288498","url":null,"abstract":"Abstract This article on François Ozon’s Sous le sable (2000) examines how the disappearance of the main character’s husband results in her fascination with his image (a ghostly returning figure) fixating her in a zone between loss and acceptance. Using this figure of the image, residing in a liminal zone between existence and non-existence, the author illustrates the ways in which it upsets traditional binary notions of time (past/present), reality (truth/fiction) and memory (remembrance/forgetfulness). To help in this endeavour, the author employs three distinct albeit interconnected theoretical discourses: (1) trauma as temporal liminality where past and present come together; (2) narcissism as the liminality of an image’s realistic and fictitious natures; and (3) melancholy as that liminal space between a memory’s retention and loss.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1288498","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42387244","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/Out: fictionalising autobiography in Vincent Dieutre’s Jaurès (2012)","authors":"Tom Cuthbertson","doi":"10.1080/14715880.2017.1281037","DOIUrl":"https://doi.org/10.1080/14715880.2017.1281037","url":null,"abstract":"Abstract This article offers a close reading of Vincent Dieutre’s 2012 production Jaurès. It presents the film as the continuation of a sustained autobiographical filmmaking practice in which individual experience provides the perspective from which to consider experience more generally. The article examines the way in which Dieutre presents what we see on screen in Jaurès as an archival inventory of the ephemeral rhythms of the past. The article moves on to question what happens when this inventory becomes avowedly fictive, identifying in Dieutre’s filmmaking an impulse that moves from a forensic gesture of temporal retrieval to one of fictionalised reinterpretation and restaging. Dieutre asks the spectator to participate in a mode of remembrance that treads the line between fiction and reality as a means of giving a more malleable and reflective account of experience. This article shows how Dieutre constructs a filmic poetics based on showing and hiding that allows him to explore the mechanisms of social definition that shape and control both public and private identities.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1281037","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47769247","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":"Drift: Paule Delsol inside and outside the French New Wave","authors":"Tim Palmer","doi":"10.1080/14715880.2016.1270546","DOIUrl":"https://doi.org/10.1080/14715880.2016.1270546","url":null,"abstract":"Abstract This essay studies the long-overlooked French New Wave filmmaker Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines her artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of La Dérive, its stylistic and temporal agitations, its considerations of female-centred domestic binds in 1960s France, versus better-known New Wave texts. Third, the essay contrasts La Dérive’s polarised reception, especially its censorship and distribution problems, with Delsol’s enfranchised status at Cahiers du cinéma, emphasising her many published contributions to the New Wave’s agenda.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1270546","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44529693","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":"Screening decolonisation through privatisation in two New Wave films: Adieu Philippine and La Belle Vie","authors":"M. Sharpe","doi":"10.1080/14715880.2016.1274938","DOIUrl":"https://doi.org/10.1080/14715880.2016.1274938","url":null,"abstract":"Abstract This article analyses images of domestic space in two New Wave films: Jacques Rozier’s Adieu Philippine (1963) and Robert Enrico’s La Belle Vie (1964). In existing scholarship on the period, critics often define French cinema made during the country’s experience of the Algerian War (1954–1962) in apolitical terms, as a corpus of films stifled by the rise of an insidious censorial regime led by the state. The first part of this article will expand upon this hypothesis by examining the atmosphere of domestic depoliticisation that characterises Rozier’s highly censored film. The second part of this article will then examine how La Belle Vie begins with a desire to flaunt the authority of the censors, before somewhat puzzlingly retreating into the same landscape of apolitical privatisation that defines both Adieu Philippine and popular discourses of the era (for example, women’s magazines). Finally, the author will identify these privatised and politically neutral images of domesticity as one of the reasons that the violent reality of the conflict was initially ‘screened’ from the public imaginary, leading to a war that remained – at least until the wave of highly political films that emerged in the early 1970s – misunderstood, taboo and largely invisible.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1274938","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45525395","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":"Art and logic: Godard’s Alphaville as philosophy","authors":"A. Jones","doi":"10.1080/14715880.2016.1262119","DOIUrl":"https://doi.org/10.1080/14715880.2016.1262119","url":null,"abstract":"ABSTRACT Jean-Luc Godard’s Alphaville: une étrange aventure de Lemmy Caution (1965) constitutes a strikingly brilliant mise en scène of strife between humans and logic. Led by a supercomputer and its scientist-creator, this technocratic city annihilates emotive human creativity. I argue that this dystopian science fiction film is philosophy, precisely because it engages a problem that philosophers also address, namely humanity’s relationship to art and logic. I present this film as an example in defense of the ‘bold thesis’ for film as philosophy developed by Paisley Livingston (2006). Though Livingston argues against this thesis, Aaron Smuts (2009) provides a valiant defense, to which Livingston (2009) responds, stating that only a more relevant example is missing. Supplying this example is the precise intention of this article. To do so, I begin with a discussion of Nietzsche’s The Birth of Tragedy ([1872] 1967), to provide a legitimate philosophical background from which to show how Alphaville not only serves as a thought experiment of prior established philosophy, but also builds upon those ideas to create its own philosophical contribution.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1262119","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46593845","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":"Varda, Cléo and Pomme in Paris: the figure of the chanteuse in Cléo de 5 à 7 and L’Une chante, l’autre pas","authors":"Jennifer Wallace","doi":"10.1080/14715880.2016.1237202","DOIUrl":"https://doi.org/10.1080/14715880.2016.1237202","url":null,"abstract":"Abstract Cléo de 5 à 7 (1962) and L’Une chante, l’autre pas (1976) are two films by Agnès Varda that explore the figure of the chanteuse. In the first film, Cléo is a ‘modern’ chanteuse de variétés of the early 1960s, with her character containing echoes of both Sylvie Vartan and Edith Piaf. Yet, during the film, she sheds her mainstream singer image that is associated with narcissism and manipulation, and transforms her outlook by leaving her career behind. The second film follows Pomme, a young woman who also starts out in popular music in the 1960s, but later finds her calling as a chanteuse engagée for the Women’s Movement of the 1970s. Pomme’s empowerment is directly linked to her engagement with folk-influenced, protest music, which grows stronger as time moves on. This essay reveals Varda’s input into contemporary debates surrounding the female singer in the 1960s and 1970s, and it identifies overlooked aspects of the canonical New Wave film Cléo de 5 à 7, in comparing it to the lesser analysed L’Une chante, l’autre pas. Through close textual analysis of musical styles, lyrics and performance, this paper examines two different portraits of the French female singer in film.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1237202","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41330330","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}