Studies in French Cinema最新文献

{"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":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1266849","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}

{"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":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1213586","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}

{"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":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1241585","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}

{"title":"Sepia cinema in Nicolas Sarkozy’s France: nostalgia and national identity","authors":"Sébastien Fevry","doi":"10.1080/14715880.2016.1249208","DOIUrl":"https://doi.org/10.1080/14715880.2016.1249208","url":null,"abstract":"Abstract The paper examines the wave of nostalgic cinema that reached its peak in France in the 2000s and that some critics have characterised as sepia cinema. The success of Les Choristes/The Chorus (Christophe Barratier, 2004) was followed by a number of films with an old-fashioned flavour such as Le Petit Nicolas/Little Nicholas (LaurentTirard, 2009) or La Nouvelle Guerre des boutons/War of the Buttons (Yann Samuell, 2011). The article aims to understand the memorial dynamics that the sepia wave has assumed in a French society more and more obsessed with its memory and the valorisation of its national past. The author argues that the sepia wave reveals an important change in the frameworks of collective memory. In the context of the repeated failures of the memorial politics enacted by Nicolas Sarkozy, the sepia films tend to mobilise a family memory that appears more efficient than State memory in the sharing of recollections linked to a collective past.","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/10.1080/14715880.2016.1249208","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45792221","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":"‘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":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1249196","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}

{"title":"Screenwriting the Euro-noir thriller: the subtext of Jacques Audiard’s artistic signature","authors":"Isabelle Vanderschelden","doi":"10.1080/14715880.2016.1234175","DOIUrl":"https://doi.org/10.1080/14715880.2016.1234175","url":null,"abstract":"Abstract This article discusses the films of Jacques Audiard from the perspective of the screenwriting process. It evaluates his work as a screenwriter, and the ways in which the development process of his screenplays can inform his cinema and distinctive style. Audiard always writes with collaborators and views the filmmaking process as a team effort. Beyond establishing his own personal signature renewal of the European thriller through complex narratives, Audiard has developed a filmmaking method in which the so-called writing stage seems to extend far beyond pre-production, to influence the shooting, and finally shape the editing process completed in post-production.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1234175","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252793","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 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":null,"pages":null},"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}

{"title":"Audiard A–Z","authors":"J. Dobson","doi":"10.1080/14715880.2016.1238171","DOIUrl":"https://doi.org/10.1080/14715880.2016.1238171","url":null,"abstract":"A is for Anti-hero. Audiard’s films demonstrate a sustained lack of interest in the moral or sentimental appeal of their central characters, but rather strive to ensure that we engage with and admi...","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1238171","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252685","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":"Theses on French cinema 2015","authors":"","doi":"10.1080/14715880.2016.1224522","DOIUrl":"https://doi.org/10.1080/14715880.2016.1224522","url":null,"abstract":"","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1224522","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252711","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":"Jacques Audiard – twenty-first century auteur","authors":"J. Dobson","doi":"10.1080/14715880.2016.1238170","DOIUrl":"https://doi.org/10.1080/14715880.2016.1238170","url":null,"abstract":"Jacques Audiard is one of the best-known French filmmakers working today, his presence well established in film festival headlines, the mainstream film press and critics’ choice (including an appearance at number 85 with Un prophète/A Prophet [2009] in the recent BBC critics’ poll of the twenty-first century’s 100 greatest films [BBC 2016]).1 His national status as son of the seminal scriptwriter Michel Audiard has long been replaced by his own international profile as director, yet scholarly engagement with his hugely confident and engaging œuvre continues to lag behind his international commercial profile. The aims of this special issue are therefore twofold: to render existing engagement with his work more visible, and to bring together a set of diverse critical approaches in the hope of triggering further exploration of these films. Audiard’s credentials as exemplary twenty-first century auteur are seemingly uncontestable. Ciné-fils of France’s treasured screenwriter Michel Audiard and cinéphile who name-checks emphatically international influences, his films exhibit signature elements of mise en scène and recurring thematic obsessions, turn relatively unknown actors into bankable stars (Romain Duris, Tahar Rahim, Matthias Schoenaerts) and win an impressive array of international awards. The latter run to 54 wins and 56 nominations (source IMDB.com) including the Grand Jury prize at Cannes and wins in almost all major categories at the Césars for Un prophète in 2009. Although De rouille et d’os/Rust and Bone (2012) was, surprisingly, overlooked in the Grand Jury selection at Cannes, he went on to win the Palme d’or in 2015 with Dheepan. Further evidence of his broad cultural capital can be found in the recent inclusion of De battre mon cœur s’est arrêté/The Beat That My Heart Skipped (2005) on the French baccalauréat syllabus and the confirmation in interviews (and accompanying photo shoots) of his cultural branding (in reception at least) as dandy, hat-wearing, combination of contemporary European sensibility and classic American auteur – the ‘French Scorsese’ indeed (Aftab 2010). The reasons for the mismatch between commercial and media profile and academic attention are undoubtedly multiple; yet one of the primary contexts may be his lack of fit with perceived tendencies and models of contemporary French film-making. He does not fit easily into new canons or broader tendencies (such as ‘extreme cinema’, politically engaged realism or indeed popular cinema) and is not the identifiable product of a high-profile film school. Crucially, his age excluded him from being labelled as a member of the generation of filmmakers ‘le jeune cinéma’, delineated in critical work of the 1990s–2000s (see Hardwick 2008) that was important to the construction of models of French auteur film in that period (see Dobson 2012). The contribution to auteur status of Audiard’s extensive and continuing profile as screenwriter – he contributed to the writing of 20 film","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1238170","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252581","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}