A Companion to Contemporary French Cinema

A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Featuring contributions from an international cast of established and ...

A Companion to Contemporary French Cinema

A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters Utilizes groundbreaking research on cinema beyond the fiction film and the cinema-theater such as documentary, amateur, and digital filmmaking Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies Includes essays by important French cinema scholars from France, the U.S., and New Zealand, many of whose work is here presented in English for the first time

Contemporary French Cinema

A Companion to Contemporary French Cinema. Malden, MA: Wiley Blackwell, 2015. Forbes, Jill. The Cinema in France after the New Wave. Bloomington: Indiana UP, 1992. Frodon, Jean-Michel. Le Cinéma français, de la Nouvelle Vague à nos ...

Contemporary French Cinema

Like its French-language companion volume Le Cinéma français contemporain: Manuel de classe, Alan Singerman and Michèle Bissière's Contemporary French Cinema: A Student's Book offers a detailed look at recent French cinema through its analyses of twenty notable and representative French films that have appeared since 1980. Sure to delight Anglophone fans of French film, it can be used with equal success in English-language courses and, when paired with its companion volume, dual-language ones. Acclaim for Le Cinéma français contemporain: Manuel de classe "From Le Dernier Métro to Intouchables, Bissière and Singerman cover the latest trends of French cinema, emphasizing context and analytical method as Singerman did in Apprentissage du cinéma français (Focus 2004). The authors offer a selection of films most French cinephiles will applaud, and they incorporate insights from some of the best critical work on French cinema. Students of French film will also find all the bibliographical pointers they need to dig deeper, and instructors will appreciate the pedagogical components included in the chapters." —Jonathan Walsh, Department of French Studies, Wheaton College, Massachusetts "This remarkable book comes to us from two seasoned teachers and critics and beautifully complements an earlier work, Alan Singerman's Apprentissage du cinéma français. The time period covered, more targeted here than in the preceding text, is admirably well chosen, and the breakdown by broad category, each offering multiple options, guides the teacher while offering a choice among an abundance of interesting films. The preliminary chapters, both succinct and informative, give students an excellent overview of French cinema as a whole and of the technical knowledge needed for film analysis. Each of the subsequent chapters offers an indispensable introduction discussing the plot, director, production, actors, reception, and context of the film in question and also provides a very useful filmography and bibliography… an exemplary work." —Brigitte E. Humbert, Department of French and Francophone Studies, Middlebury College

Music in Contemporary French Cinema

“Soundscapes of Loss: Songs in Contemporary French Cinema.” In A Companion to Contemporary French Film, edited by Raphaëlle Moine, Hilary Radner and Alistair Fox, with Michel Marie, 527–546. Chichester: Wiley-Blackwell. Powrie, Phil.

Music in Contemporary French Cinema

This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls “third space music,” while also working to contain the strong women characters found in French heritage films through the use of leitmotifs and musical cues. He analyses fiction films in which the protagonists perform at the piano, showing how musical performance supports the performance of gender. Building on aspects of musical performance, and in particular the use of songs performed in films, Powrie uses a database of 300 films since 2010 to theorize the intervention of music at critical moments as a “crystal-song”. Applying Roland Barthes’s concept of the “punctum” and Gille Deleuze’s concept of the “crystal-image,” Powrie establishes the importance of the crystal-song, which reconfigures time as a crystallization of past, present and future.

The French Cinema Book

Palmer, T. (2011) Brutal Intimacy: Analyzing Contemporary French Cinema, Wesleyan University Press. ... Marie, M., Moine, R. and Radner, H. eds (2015) A Companion to Contemporary French Cinema, Chichester, Wiley-Blackwell.

The French Cinema Book

This thoroughly revised and expanded edition of a key textbook offers an innovative and accessible account of the richness and diversity of French film history and culture from the 1890s to the present day. The contributors, who include leading historians and film scholars, provide an indispensable introduction to key topics and debates in French film history. Each chronological section addresses seven key themes – people, business, technology, forms, representations, spectators and debates, providing an essential overview of the cinema industry, the people who worked in it, including technicians and actors as well as directors, and the culture of cinema going in France from the beginnings of cinema to the contemporary period.

L Auberge espagnole

Moine, R. (2015) 'Contemporary French Comedy as Social Laboratory', in Fox, A., M. Marie, R. Moine and H. Radner (eds.) A Companion to Contemporary French Cinema, Chichester: John Wiley and Sons, pp. 233–255. Morano-Foadi, S. (2005) ...

L   Auberge espagnole

Part romantic comedy, part sitcom, part social drama, L’Auberge espagnole (The Spanish Apartment) recounts a familiar ‘youth’ ritual – the move from university to ‘the real world’, the often complicated personal, romantic and cultural encounters that ensue, and the moral uncertainties that characterize that key biological and physiological developmental stage between adolescence and adulthood. French director Cédric Klapisch showcases the extraordinary colour and beauty of Barcelona’s architecture, and places his hero Xavier at the heart of this smartly written film, which makes a series of wry observations on educational exchange programmes, multi-culturalism, and the direction European youth might take in the twenty-first century. This book addresses the topic of Europe’s youth generation, paying particular attention to the ways in which the film depicts the transition from adolescence to adulthood as allegory for the experiences of European society as it moves through periods of readjustment towards uncertain futures. It also looks into the ecosystem of contemporary French cinema, the Erasmus programme and its influence on youth experience, and identity politics in relation to ‘nationhood’ and ‘European-ness’. The book also examines the two sequels to the film – Russian Dolls (2005) and Chinese Puzzle (2013) – and how the complications faced by the main characters across the trilogy suggest that the move to adulthood is a never-ending process of growing up and reaching a level of self-actualization.

The Legacy of the New Wave in French Cinema

Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s. ... Studies in French Cinema 5:3 (2005): 207–18. Monaco, James. ... In A Companion to Contemporary French Cinema, ...

The Legacy of the New Wave in French Cinema

In this study of the impact and influence of the New Wave in French cinema, Douglas Morrey looks at both the subsequent careers of New Wave filmmakers and the work of later film directors and film movements in France. This book is organized around a series of key moments from the past 50 years of French cinema in order to show how the meaning and legacy of the New Wave have shifted over time and how the priorities, approaches and discourses of filmmakers and film critics have changed over the years. Morrey tackles key concepts such as the auteur, the relationship of form and content, gender and sexuality, intertextuality and rhythm. Filmmakers discussed include Godard, Truffaut, Varda, Chabrol and Rohmer plus Philippe Garrel, Luc Besson, Leos Carax, Bruno Dumont, the Dardenne brothers, Christophe Honoré, François Ozon and Jacques Audiard.

French Blockbusters

(2014)', Studies in French Cinema, 18:1, pp. 35–51. Moine, Raphaëlle (2014), 'Contemporary French Comedy as Social Laboratory', in Hilary Radner, Alistair Fox, Michel Marie and Raphaëlle Moine (eds), A Companion to Contemporary French ...

French Blockbusters

The digitised spectacles conjured by a word like `blockbuster' may create a certain cognitive dissonance with received ideas about French cinema - long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic `cultural exception' remains a forceful current to this day, this book shows how the onslaught of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. Cutting across a swath of recent French-produced cinema, French Blockbusters offers the first book-length consideration of the theoretical implications, historical impact and cultural consequences of recent popular films that are rapidly changing what it means to make - or to see - a `French' film today. From English-language action vehicles like Valerian and the City of a Thousand Planets (Besson, 2017) to revisionist historical films like Of Gods and Men (Beauvois, 2011) and crowd-pleasing comedies like Intouchables (Toledano & Nakache, 2011), the variously filiated `local blockbusters' from contemporary France brim with the seeds of cultural contradiction, but also with the energy of a forceful counter-history

Irreversible

Palmer, T. (2006a) 'Style and Sensation in the Contemporary French Cinema of the Body', Journal of Film and Video, 58:3, ... in Contemporary French Cinema', in R. Moine, H. Radner, A. Fox and M. Marie, (eds), A Companion to Contemporary ...

Irreversible

Gaspar Noé's Irreversible is uncompromising and visceral, an essential piece of modern cinema. Punctuated by dazzling avant-garde techniques, the film depicts, in reverse-chronological order, a woman's rape and her boyfriend and friend's subsequent hunt for vengeance through the underworld of Paris. Confrontational yet influential, Irreversible has polarized audiences since its release in 2002, making it until now almost impossible to study dispassionately. This first book-length study of Irreversible situates Noé's work in the ecosystem of contemporary French media, exploring how Irreversible and a larger-scale cinéma du corps actually inspired France's film resurgence in the early twenty-first century. From there, Palmer shows Irreversible to be one of the most subversive star vehicles in recent world cinema, in the form of its iconic lead performers, Vincent Cassel, Monica Bellucci, and Albert Dupontel. Investigating the spectrum of reactions created by Noé's film - through its pugnacious stylistic design, its on-screen deconstruction of Paris, its international critical reception and its unexpectedly utopian counterpoints to violence and despair - the book generates a new rational dialogue about Irreversible that challenges any instinct simply to reject or condemn it.

The French Film Musical

... 'Genre Experimentation and Contemporary Dance in Jeanne et le garçon formidable', Studies in French Cinema, ... R. Moine , and H. Radner (eds), A Companion to Contemporary French Cinema, 289–313, Chichester: Wiley-Blackwell.

The French Film Musical

Like many national cinemas, the French cinema has a rich tradition of film musicals beginning with the advent of sound to the present. This is the first book to chart the development of the French film musical. The French film musical is remarkable for its breadth and variety since the 1930s; although it flirts with the Hollywood musical in the 1930s and again in the 1950s, it has very distinctive forms rooted in the traditions of French chanson. Defining it broadly as films attracting audiences principally because of musical performances, often by well-known singers, Phil Powrie and Marie Cadalanu show how the genre absorbs two very different traditions with the advent of sound: European operetta and French chanson inflected by American jazz (1930-1950). As the genre matures, operetta develops into big-budget spectaculars with popular tenors, and revue films also showcase major singers in this period (1940-1960). Both sub-genres collapse with the advent of rock n roll, leading to a period of experimentation during the New Wave (1960-1990). The contemporary period since 1995 renews the genre, returning nostalgically both to the genre's origins in the 1930s, and to the musicals of Jacques Demy, but also hybridising with other genres, such as the biopic and the documentary.

Real Sex Films

Brutal Intimacy: Analyzing Contemporary French Cinema. Middletown, CT: Wesleyan University Press. Palmer, Tim. 2015a. “Modes of Masculinity in Contemporary French Cinema.” In A Companion to Contemporary French Cinema, edited by Alistair ...

Real Sex Films

Real Sex Films explores one of the most controversial movements in international cinema through an innovative interdisciplinary combination of theories of globalization and embodiment. Risk sociology, feminist film theory, and critical feminist mapping theory are brought together with concepts of production, narrative, genre, authorship, stardom, spectatorship, and social audience as several lenses of understanding and extension in ways of seeing real-sex cinema. Notions of personal subjectivity and critical distance, disciplinary co-operation and critique, and cinematic perceptions of the utopia and dystopia of love within risk modernity are the tensions exposed reflexively and in parallel, as each chapter focuses different lenses communicating intimacy, desire, risk and transgression. This book substantively, methodologically, and theoretically embraces and engages in its consideration of the images, ethics, double standards, and embodiments of brutal cinema. Crossing the boundaries of film studies, media and cultural studies, the ethnographic turn, risk sociology, feminist psychoanalytical, and geopolitical studies, this is a book for students, academics, as well as general and professional audiences.

The Companion to French Cinema

Against relentless competition ( and vastly superior financial means ) from Hollywood , the resilience of contemporary French cinema is to be celebrated . Altogether , 120 films were produced or co - produced in France in 1995 , ranging ...

The Companion to French Cinema

A handbook of French cinema

The New Woman s Film

This book seeks to fill this void by focusing on the steady stream of films about and for women that emerge out of independent American and European cinema, and that are designed to address an international female audience.

The New Woman s Film

With the chick flick arguably in decline, film scholars may well ask: what has become of the woman’s film? Little attention has been paid to the proliferation of films, often from the independent sector, that do not sit comfortably in either the category of popular culture or that of high art––films that are perhaps the corollary of the middle-brow novel, or "smart-chick flicks". This book seeks to fill this void by focusing on the steady stream of films about and for women that emerge out of independent American and European cinema, and that are designed to address an international female audience. The new woman's film as a genre includes narratives with strong ties to the woman’s film of classical Hollywood while constituting a new distinctive cycle of female-centered films that in many ways continue the project of second-wave feminism, albeit in a modified form. Topics addressed include: The Bridges of Madison County (Clint Eastwood, 1995); the feature-length films of Nicole Holofcener, 1996-2013; the film roles of Tilda Swinton; Rachel Getting Married (Jonathan Demme, 2008); Blue Jasmine (Woody Allen, 2013); Frances Ha (Noah Baumbach, 2012), Belle (Amma Asante, 2013), Fifty Shades of Grey (Sam Taylor-Johnson, 2015) and Jane Campion’s Top of the Lake (Sundance Channel, 2013-).

Contemporary French Cinema

Flitterman - Lewis , S. ( 1990 ) , To Desire Differently : Feminism and the French Cinema , University of Illinois Press ... Kuhn , A. , and Radstone , S. ( 1990 ) ( eds ) , The Women's Companion to International Film , Berkeley ...

Contemporary French Cinema

Examines popular French film of the last 25 years. Charts recent developments in all genres since the New Wave, including the heritage film, the thriller, the war film, `cinema du look'. Other topics include: representations of sexuality; the work of women film-makers. Includes a filmography.

Contemporary French Cinema 2nd Edition

Forbes , J. ( 1992 ) , The Cinema in France After the New Wave , London , BFI / Macmillan . Goudet , S. and Vassé , C. ( 1999 ) , Ces idées qui tuent le ... Kuhn , A. , and Radstone , S. ( 1990 ) ( eds ) , The Women's Companion to ...

Contemporary French Cinema  2nd Edition

This book is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.

French Cinema Since 1950

Selected Reading Guy Austin , Contemporary French Cinema : An Introduction ( Manchester , 1996 ) . A thoughtful introduction to French cinema since 1968 ; particularly interesting on the cinéma du look . Jill Forbes , The Cinema in ...

French Cinema Since 1950

French Cinema Since 1950 brings together modern scholarship of the most widely viewed and studied works of the period including classic films such as TruffautAIs The 400 Blows, ResnaisAI Hiroshima Mon Amour, and works by Godard as well as critical previews of some of the most recent French films up to 1998. It covers relevant directors and their writings, and provides a comprehensive overview of different types of cinema, from thrillers and love stories to historical drama and autobiographies.

Raymond Bellour

With a succinct account of Bellour's oeuvre, this book provides a generous introduction to his ideas on cinema, an annotated bibliography of his work, and a six-chapter translation of a substantial and wide-ranging interview previously ...

Raymond Bellour

One of the most influential figures in French film philosophy, Raymond Bellour's interests range across cinema, art, literature and philosophy, and his work sits at the critical juncture between the cinematic experience in the period of classical cinema to the new forms of spectatorship ushered in by digital media in the 21st century. With a succinct account of Bellour's oeuvre, this book provides a generous introduction to his ideas on cinema, an annotated bibliography of his work, and a six-chapter translation of a substantial and wide-ranging interview previously unavailable in English. Providing a clear, systematic account of the evolution of Bellour's thought on the nature of cinematic representation, the impact of digital technology and the response of the spectator, this is an essential guide to the work of a major contemporary thinker.

France at the Flicks

Trends in Contemporary French Popular Cinema Darren Waldron, Isabelle Vanderschelden ... Berry , S. , “ Genre ” , in Toby Miller & Robert Stam ( eds ) , A Companion to Film Theory , ( Oxford : Blackwell , 1999 ) .

France at the Flicks

Covering production, distribution and exhibition as well as critical and audience reception, this book provides an overview of recent French cinema. It offers case studies of films which enjoyed international appreciation and also those not distributed abroad.

The Oxford Companion to Film

Production increased rapidly As a result , the French film industry was reaching , in the late thirties ... social and political climate political climate of contemporary France ( par- of the post - war years with a return to realism .

The Oxford Companion to Film

Provides descriptions of seven hundred important films, biographies of actors, directors, producers, writers, and others, histories of national industries and production companies, and explanations of technical processes

Schirmer Encyclopedia of Film

imagination as the cultural exception , as a cinema that challenged the global dominance of Hollywood , not simply within an ... and it has continued to be the crucial question facing French cinema at the turn of the millenium .

Schirmer Encyclopedia of Film

This reference source covers all aspects of the cinema, including film history, production, national cinemas, genre theory and criticism, and cultural contexts.