Studies in French Cinema最新文献_第7页

A Mediterranean gap in the national canon? Paul Carpita’s anti-colonial cinema between militant amateurism and New Wave 国家标准中的地中海差距?保罗·卡皮塔的反殖民电影，介于好战的业余主义和新浪潮之间

Studies in French Cinema Pub Date : 2017-01-02 DOI: 10.1080/14715880.2016.1266849

D. Winkler

{"title":"A Mediterranean gap in the national canon? Paul Carpita’s anti-colonial cinema between militant amateurism and New Wave","authors":"D. Winkler","doi":"10.1080/14715880.2016.1266849","DOIUrl":"https://doi.org/10.1080/14715880.2016.1266849","url":null,"abstract":"Abstract A new Marseille cinema, focusing on the city’s everyday culture, emerged in the 1980s with directors such as René Allio and Robert Guédiguian. Even though some of their films received considerable recognition, an important part of the history of this cinematic representation has remained largely unaccounted for: the work of Paul Carpita (1922–2009). His films of the 1950s and 60s are strongly linked to the cultural history of the labour and peace movement. A former member of the Resistance, he created just after World War II Le Rendez-vous des quais/Meeting on the Docks (1953–55), a full-length film shot in the popular quarters of Marseille, thematising the dockers’ protest against the Indochina War. The film was censored before its release and only restored in the 1980s. This article situates the film within the regional and national French cinema of the post-war era, and analyses its hybrid aesthetics, comprising cinematic realism, militant cinema and amateur film. By referring to Carpita’s more intimate and reflexive short films, the article argues that his marginal status within French film history can be traced to the political and amateurish character of his films, but also to the fact that his artistic activity was located in Marseille, at the periphery of the national film scene and academia.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"17 1","pages":"21 - 43"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1266849","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43775882","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

Maurice Tourneur’s Justin de Marseille (1935): transatlantic influences on the French gangster Maurice Tourneur的Justin de Marseille（1935）：跨大西洋对法国黑帮的影响

Studies in French Cinema Pub Date : 2017-01-02 DOI: 10.1080/14715880.2016.1213586

David Pettersen

{"title":"Maurice Tourneur’s Justin de Marseille (1935): transatlantic influences on the French gangster","authors":"David Pettersen","doi":"10.1080/14715880.2016.1213586","DOIUrl":"https://doi.org/10.1080/14715880.2016.1213586","url":null,"abstract":"Abstract In this article, the author analyses Maurice Tourneur’s 1935 film Justin de Marseille as an example of the Gallic gangster film. Julien Duvivier’s Pépé le Moko (1937) has received more critical attention in this regard in part because of the general critical neglect of Tourneur’s work, but also because Justin de Marseille offers a curious juxtaposition of quasi-ethnographic images of everyday street life in Marseille and proto-film noir chase sequences involving darkened streets and violent criminals. Justin de Marseille is a useful case study because it explicitly negotiates between French and American models of urban criminality in the interwar period at the level of style and narrative. The author shows how Tourneur’s film satirises the French fascination with American and Gallic gangsters as a press phenomenon, namely the consequence of French journalists hungry for sensationalistic stories to sell newspapers. He interweaves a cultural history of the French fascination for gangsters with an analysis of how Tourneur contrasts the acquisitive and individualistic American-inspired gangster with a more properly Gallic one who values honour, artisanship, community and solidarity.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"17 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1213586","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42195203","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: 1

White paranoia: Michael Haneke’s Caché reflected through Alain Robbe-Grillet’s novel La Jalousie 白人偏执狂：迈克尔·哈内克的Caché通过阿兰·罗伯·格里耶的小说《Jalousie》反映

Studies in French Cinema Pub Date : 2017-01-02 DOI: 10.1080/14715880.2016.1241585

Eva Jørholt

{"title":"White paranoia: Michael Haneke’s Caché reflected through Alain Robbe-Grillet’s novel La Jalousie","authors":"Eva Jørholt","doi":"10.1080/14715880.2016.1241585","DOIUrl":"https://doi.org/10.1080/14715880.2016.1241585","url":null,"abstract":"ABSTRACT Inspired by Alain Robbe-Grillet’s novel La Jalousie (1957), the essay contends that Michael Haneke’s Caché (2005) takes its viewers inside a postcolonial white paranoia which is, arguably, the root cause of the exclusion, segregation and racist discrimination that many immigrants from the former colonies – and their children – are experiencing in contemporary France. It suggests that the entire film be read as the protagonist’s paranoid vision that imagines white privileges to be menaced by some non-white conspiracy. His obsession, which hinges on a fear of a reversal of the power inherent in ‘the gaze’, as brought out in the central ‘stalking plot’, informs the entire film’s narration and audiovisual make-up and explains, among other things, the serial repetitions and variations of certain settings and objects as the protagonist’s desperate attempt to create order in a threatening world. The construction of the film, however, also allows Haneke to critically comment upon his protagonist’s paranoia and demonstrate its ill-foundedness, for instance by pointing to a possible ‘banal conviviality’ (Paul Gilroy) between people of different ethnicities, cultures and religions.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"17 1","pages":"108 - 91"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1241585","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45135651","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: 1

Sepia cinema in Nicolas Sarkozy’s France: nostalgia and national identity 尼古拉·萨科齐（Nicolas Sarkozy）笔下的法国电影：怀旧与民族认同

Studies in French Cinema Pub Date : 2017-01-02 DOI: 10.1080/14715880.2016.1249208

Sébastien Fevry

引用次数: 3

‘Je suis une étrangère de partout’: the material realities of exile in Tony Gatlif’s Exils (2004) 《我是一个来自世界各地的陌生人》:托尼·加特利夫的流亡中的流亡物质现实(2004)

Studies in French Cinema Pub Date : 2017-01-02 DOI: 10.1080/14715880.2016.1249196

Kaya Davies Hayon

{"title":"‘Je suis une étrangère de partout’: the material realities of exile in Tony Gatlif’s Exils (2004)","authors":"Kaya Davies Hayon","doi":"10.1080/14715880.2016.1249196","DOIUrl":"https://doi.org/10.1080/14715880.2016.1249196","url":null,"abstract":"Abstract Since the new millennium, films featuring Maghrebi(-French) characters have begun to address a broad range of topographies and a number of road movies have emerged that show their protagonists making journeys between France and the countries of the Maghreb. One such film is Exils, a transnational road movie that follows Zano (Romain Duris), the French son of pieds-noirs, and Naïma (Lubna Azabal), a young Algerian-French woman, on a spontaneous journey of (self-)discovery that begins in Paris and concludes in Algeria. Drawing upon Merleau-Ponty’s corporeal phenomenology and Sobchack’s work, this article argues that Exils uses its protagonists’ ‘return’ journeys to examine the lived and embodied experience of exile, as well as the politics of being displaced to a new space and time. It focuses on the two characters’ differing responses to their ‘homeland’ and argues that Zano is able to (re)connect with his roots through his body. Naïma, on the other hand, remains in a perpetual state of alienation until the penultimate sequence of the film, in which her engagement in a Sufi trance ritual enables her to feel embodied, emplaced and (re)connected with her country and culture of origin. Throughout the course of the narrative, Exils uses its central characters’ lived and embodied encounters with the people and culture of their country of origin to explore the material realities of exile and to mediate intercultural relations between France and Algeria.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"17 1","pages":"75 - 90"},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1249196","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60253000","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

Screenwriting the Euro-noir thriller: the subtext of Jacques Audiard’s artistic signature 欧洲黑色惊悚片的编剧:雅克·欧迪亚艺术签名的潜台词

Studies in French Cinema Pub Date : 2016-09-01 DOI: 10.1080/14715880.2016.1234175

Isabelle Vanderschelden

引用次数: 2

The disabled body and disability in the cinema of Jacques Audiard 雅克·欧迪亚电影中的残疾身体与残疾

Studies in French Cinema Pub Date : 2016-09-01 DOI: 10.1080/14715880.2016.1238172

R. Kitchen

{"title":"The disabled body and disability in the cinema of Jacques Audiard","authors":"R. Kitchen","doi":"10.1080/14715880.2016.1238172","DOIUrl":"https://doi.org/10.1080/14715880.2016.1238172","url":null,"abstract":"Abstract Jacques Audiard’s films deal with disabling social exclusion. Protagonists are systematically discriminated against owing to their physical disabilities or social disabilities such as low socio-economic status, lack of education, and cultural/linguistic marginalisation. Sur mes lèvres (2001) and De rouille et d’os (2012) feature characters with both physical and social disabilities. The first film examines the relationship between an ambitious, deaf, real-estate company secretary and a former convict whom she employs as her assistant. The second follows the romance between a killer-whale trainer who loses her lower limbs when she is attacked by a killer whale, and a man from a low-income, low-education background who is passionate about boxing. The characters are focused on surviving in a society in which they are alienated, stigmatised, and where options are limited. Through a mutual recognition of shame and isolation, the characters develop an alliance that challenges, exploits, and finally rejects the social norming of received attitudes towards the disability of the other person. The article analyses how these representations of physical disabilities conform to contemporary theories of embodied disability and argues that Audiard’s cinema can be viewed through both a phenomenological and a cognitive lens.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"16 1","pages":"229 - 247"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1238172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60253234","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

Audiard A–Z 奥迪A-Z

Studies in French Cinema Pub Date : 2016-09-01 DOI: 10.1080/14715880.2016.1238171

J. Dobson

引用次数: 0

Theses on French cinema 2015 2015年法国电影论文

Studies in French Cinema Pub Date : 2016-09-01 DOI: 10.1080/14715880.2016.1224522

引用次数: 0

Bibliography for Jacques Audiard 雅克·奥迪亚尔参考书目

Studies in French Cinema Pub Date : 2016-09-01 DOI: 10.1080/14715880.2016.1238169

J. Dobson, P. Powrie

引用次数: 0