Studies in French Cinema最新文献_第9页

Bilan 2004–2013 de la production et du financement des films français réalisés ou coréalisés par des femmes 2004 - 2013年由女性导演或联合导演的法国电影的制作和融资回顾

Studies in French Cinema Pub Date : 2016-05-03 DOI: 10.1080/14715880.2016.1164415

Fanny Beuré

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引用次数: 0

Screenwriters à la française : la représentation du scénariste dans les discours et les méthodes d’écriture de scénarios en France, leur contexte, leur marché professionnel et éditorial (1990–2014) 法国编剧:编剧在法国的演讲和剧本写作方法中的表现，他们的背景，他们的专业和编辑市场(1990 - 2014)

Studies in French Cinema Pub Date : 2016-05-03 DOI: 10.1080/14715880.2016.1164416

M. Brangé

{"title":"Screenwriters à la française : la représentation du scénariste dans les discours et les méthodes d’écriture de scénarios en France, leur contexte, leur marché professionnel et éditorial (1990–2014)","authors":"M. Brangé","doi":"10.1080/14715880.2016.1164416","DOIUrl":"https://doi.org/10.1080/14715880.2016.1164416","url":null,"abstract":"Résumé Durant les 25 dernières années, la représentation des scénaristes dans le paysage cinématographique français se modifie, allant vers une reconnaissance de l’importance de leur rôle, la revendication d’une évolution de leur statut et une professionnalisation de leur formation. Cette évolution tranche avec la conception française des scénaristes jusque-là comme collaborateurs occasionnels, parfois écrivains, et plus largement avec l’idée française de l’écriture, liée à l’inspiration et ne nécessitant donc pas d’apprentissage, sinon par la pratique elle-même. L’article se propose d’étudier les étapes de cette évolution des représentations et son contexte, durant les 25 dernières années, entre discours de sous-efficacité des scénarios français, transformation du paysage, fortement concurrentiel, de la formation aux métiers de l’image. On les mettra en parallèle avec le discours tenu dans les méthodes d’écriture de scénarios dont le marché a explosé en France, inspiré des États-Unis, mais tentant de proposer aussi un discours plus spécifiquement français où se lit la persistance d’une tension avec l’ancienne représentation du scénariste.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1164416","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252420","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

‘What we have done is shameful’: interrogating the relationship between France and its Algérie in Jean Renoir’s Le Bled (1929) “我们所做的是可耻的”:在让·雷诺阿的《流血》(1929)中质问法国和它的阿尔格-海姆斯基之间的关系

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2016.1138722

Barry Nevin

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引用次数: 4

Angel wings, chicken wings, and the boundaries of horror: a cognitive analytical reading of Ricky (François Ozon, 2009) 天使翅膀、鸡翅和恐怖的边界:《里基》的认知分析阅读(弗朗索瓦·奥松，2009)

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2016.1138721

Jason Hartford

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引用次数: 0

Gender, genre and intertextuality in Rachid Bouchareb’s Hors la loi 拉希德·布沙雷的《爱的故事》中的性别、体裁和互文性

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2016.1138720

Anne Donadey

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引用次数: 3

Bibliography for French and francophone cinema 2010–2015 法语和法语电影参考书目2010-2015

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2016.1138723

P. Powrie

{"title":"Bibliography for French and francophone cinema 2010–2015","authors":"P. Powrie","doi":"10.1080/14715880.2016.1138723","DOIUrl":"https://doi.org/10.1080/14715880.2016.1138723","url":null,"abstract":"1. Abecassis, Michaël, and Marcelline Block, eds. 2015. French Cinema in Close-up: La Vie d’un acteur pour moi. Dublin: Phaeton. 2. Alexandre, Olivier. 2015. La règle de l’exception: l’écologie du cinéma français. Paris: École des hautes études en sciences sociales. 3. Andrew, Dudley, ed. 2011. Opening Bazin: Postwar Film Theory and its Afterlife. Oxford: Oxford University Press. 4. Andrew, Dudley. 2012. What Cinema Is! Bazin’s Quest and its Charge. Chichester: Wiley-Blackwell. 5. Anwar, Mabrouki. 2014. Le cinéma tunisien contemporain: analyse d’une vingtaine de films (entre 2000 et 2007). Saarbrücken: Éditions universitaires Europeennes. 6. Archer, Neil. 2013. The French Road Movie: Space, Mobility, Identity. Oxford: Berghahn. 7. Assiba d’Almeida, Irène, and Sonia Lee. 2015. Essais et documentaires des africaines francophones: un autre regard sur l’Afrique. Paris: L’Harmattan. 8. Aurouet, Carole. 2014. Le cinéma des poètes: de la critique au ciné-texte. Lormont: Le Bord de l’eau. 9. Austin, Guy. 2012. Algerian National Cinema. Manchester: Manchester University Press. 10. Banaji, Ferzina. 2012. France, Film and the Holocaust: From Genocide to Shoah. London: Palgrave Macmillan. 11. Bantcheva, Denitza, and Roberto Chiesi. 2015. Le film noir français: figures, mythologies, auteurs. Rome: Gremese. 12. Bazin, André. 2014. André Bazin’s New Media. Edited and translated by Dudley Andrew. Oakland: University of California Press. 13. Bickerton, Emilie. 2011. A Short History of Cahiers du cinéma. London: Verso. 14. Binh, N. T., José Moure, and Frédéric Sojcher. 2013. Paris-Hollywood, ou le rêve français du cinéma américain. Paris: Klincksieck. 15. Blum-Reid, Sylvie. 2015. Traveling in French Cinema. London: Palgrave Macmillan.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1138723","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252111","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

Explaining Varda’s Lions Love: a European director responds to an American cultural marketplace 解读瓦尔达的《狮子之恋》:一位欧洲导演对美国文化市场的回应

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2015.1065570

J. Colvin

{"title":"Explaining Varda’s Lions Love: a European director responds to an American cultural marketplace","authors":"J. Colvin","doi":"10.1080/14715880.2015.1065570","DOIUrl":"https://doi.org/10.1080/14715880.2015.1065570","url":null,"abstract":"Abstract From 1955 to 1966, Agnès Varda’s French-language feature film output, entailing four films, was characterized by formal control and cool elegance. After her relocation to Los Angeles in 1968, however, Varda’s work took a sharp turn, as evidenced in 1969’s Lions Love – a bricolage of forms and themes, including Warholian long takes, documentary segments, surreal interludes and re-photographed new reports, all swirling around the ideas of celebrity, performance and self-reflexivity. This article explains this drastic formal and narrative departure as a result of Varda’s response to a new taste culture, specifically, that of American underground cinema and experimental theatre. Using art historian Michael Baxandall’s approach to discussing artistic influence and cultural marketplaces, the article traces a few key important aesthetic trends and concerns that Varda likely drew upon when crafting her first English-language film. Additionally, the article argues that Varda adapted the precedents established by filmmakers like Andy Warhol, Shirley Clarke and William Greaves to her own ends, injecting levity and playfulness into a relatively cynical cultural milieu.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2015.1065570","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60251759","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: 2

Turning toward the Other: the face of humans, the face of things and the face of language in the documentaries of Sylvain George 转向他者:西尔万·乔治纪录片中人类的面孔、事物的面孔和语言的面孔

Studies in French Cinema Pub Date : 2016-01-02 DOI: 10.1080/14715880.2016.1138719

Jiewon Baek

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引用次数: 1

L’Argent des autres et la constitution d’un genre : le film d’homicide économique 他人的金钱和一种类型的构成:经济谋杀电影

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077034

Fabienne Bullot

引用次数: 0

Money talks: the logorrheic masquerade in two films from 1934 金钱万能:1934年两部电影中的语意假面舞会

Studies in French Cinema Pub Date : 2015-09-02 DOI: 10.1080/14715880.2015.1077032

P. Powrie

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引用次数: 1