A Companion to Contemporary French Cinema (eBook, PDF)

Redaktion: Fox, Alistair; Radner, Hilary; Moine, Raphaëlle; Marie, Michel

• Format: PDF

Produktbeschreibung

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 emerging scholars of French cinema, these innovative essays highlight the diversity of French films and filmmaking techniques that have emerged since the New Wave era. Themes and topics covered include the social, political, and cultural contexts of recent French cinema; contemporary filmmakers and performers; genres, cycles, and cinematic forms; gender and sexuality; and emerging trends and innovative new filmmaking forms. Among the French films examined in depth are hit comedies including Bienvenue chez les Ch'tis and Intouchables, blockbusters such as The Crimson Rivers, police films like 36th Precinct, historical films such as Farewell My Queen and Days of Glory, celebrated animated features such as Kirikou and the Sorceress, films representative of the "new French extreme," such as Romance, Baisemoi, and Trouble Every Day, and numerous auteur films ranging from Bruno Dumont's Hors Satan and François Ozon's shorts to Pascale Ferran's Lady Chatterley and Alain Guiraudie's L'Inconnu du lac. Combining cutting-edge scholarship with wide-ranging methodological approaches and perspectives, A Companion to Contemporary French Cinema is an invaluable resource for students and scholars of French film, as well as all those interested in the evolution of this celebrated cinematic tradition.

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Produktdetails

• Verlag: John Wiley & Sons
• Seitenzahl: 720
• Erscheinungstermin: 12. Januar 2015
• Englisch
• ISBN-13: 9781118585368
• Artikelnr.: 42292406

Autorenporträt

Alistair Fox is Professor Emeritus at the University of Otago. His books include Jane Campion: Authorship and Personal Cinema (2011), New Zealand Cinema: Interpreting the Past (2011), and an English edition and translation of Anne Gillain's François Truffaut: The Lost Secret (2013). Michel Marie is Professor Emeritus at l'Université Sorbonne Nouvelle Paris 3. His publications include The French New Wave: An Artistic School (1998, translated into English in 2002), Aesthetics of Film (with Jacques Aumont and Alain Bergala, 1983, translated into English in 2002), and Les Grands Pervers au cinéma (2009). Raphaëlle Moine is Professor of Cinema and Media Studies at l'Université Sorbonne Nouvelle Paris 3. Her publications include Cinema Genre (2002; translated into English in 2008), Remakes: les films Français à Hollywood (2007), and Les Femmes d'action au cinéma (2010). Hilary Radner is Professor of Film and Media Studies in the Department of History and Art History at the University of Otago. Her publications include Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture (2011) and Feminism at the Movies: Understanding Gender in Contemporary Popular Culture (2011).

Inhaltsangabe

List of Contributors xii Acknowledgments xviii Editorial Practice xx
Introduction: Contemporary French Cinema - Continuity and Change in a
Global Context 1 Alistair Fox, with Michel Marie, Raphaëlle Moine, and
Hilary Radner Contexts: Institutional, Political, Cultural, and Economic 4
Characteristics of Contemporary French Cinema 4 Thematic Preoccupations 7
Trends, Developments, and the Future of French Cinema 10 Part I Economic,
Institutional, and Political Contexts 15 1 The Political Economy of French
Cinema: Attendance and Movie Theaters 17 Laurent Creton Changing Patterns
of Cinema Attendance 20 Cinematic Production and Its Outcomes 23 The
Competitiveness of French Cinema and Market Share 25 Concentration and
Diversity 30 The Transformation of the Pool of Theaters 32 The Future of
Cinematic Theaters 35 2 "Do We Have the Right to Exist?" French Cinema,
Culture, and World Trade 45 Jonathan Buchsbaum France 49 Europe: Television
Without Frontiers 51 Cultural Exception: GATT 56 Cultural Diversity:
MAI/UNESCO 62 3 Historicizing Contemporary French Blockbusters 74 Charlie
Michael A Tentative Typology 75 "Cultural Diversity" or Cultural Crisis? 77
The Second Lang Plan (1989-1993) 79 The Maturation of a "Forced Marriage"
82 StudioCanal in the Crosshairs 84 A New Oligopoly? 87 4 Moving Between
Screens: Television and Cinema in France, 1990-2010 96 Guillaume Soulez The
Role of Television in the Financing of Cinema 97 Arte as a Stimulus and
Sponsor of the New Cinema 98 A Cinema of Collections 98 Realism and
Television 100 The Revival of Documentary 101 Films/Telefilms: A Play of
Mirrors 103 "Television Films" and Cinema Formatting 104 From Comic
Television to Comedy in Cinemas 106 Cinema and Televised Series 109 5
Contemporary Political Cinema 117 Martin O'Shaughnessy Taking Stock:
Working-Class Histories and the Exit from Fordism 118 Outsiders and
Victims, Ethics and Politics 125 Political Effectiveness 131 New
Departures? 133 6 Diasporic and Postcolonial Cinema in France from the
1990s to the Present 136 Will Higbee Auteur-led Productions and the
"Return" of the Political in Diasporic and Postcolonial Cinema Since the
1990s 139 From Margins to the Mainstream: Postcolonial Comedy and the
Mainstreaming of Maghrebi-French Filmmakers in the 2000s 144 Memorializing
Colonial History: From Neo-Colonial to "Counter-Heritage" Cinema 148 Return
Narratives in Diasporic Cinema of the 2000s 153 Beyond Ethnicity?
Reconfiguring Difference in Diasporic Cinema 154 Part II Auteurs and
Auteurism 161 7 The Veterans of the New Wave, Their Heirs, and Contemporary
French Cinema 163 Michel Marie The Extraordinary Fecundity of the Veterans
of the New Wave 163 The Quartet of Founding Members: Chabrol, Rohmer,
Rivette, Godard 166 The "Left Bank" of the New Wave 173 A Problematical
Legacy 177 Epilogue: The Enduring Influence of Bresson and Pialat 181 8 Was
There a Young French Cinema? 184 Jacqueline Nacache To What Does the Term
"Young French Cinema" Refer? 185 The Arrival of the New Cinema 187 The
Counter-Attack of Positif 190 Maturity and Defining Parameters 192 New
Appraisals, New Perspectives 195 Consensus and Uncertainties 197 What
Remains of the Young French Cinema? 198 9 Auteurism, Personal Cinema, and
the Fémis Generation: The Case of François Ozon 205 Alistair Fox
Characteristics of Auteur Cinema 206 Categories of Auteur Directors 207
Auteurist Styles 208 Cinephilia and Its Influence 209 The Personal
Dimension 210 The Functions of Personal Cinema 213 François Ozon: A Case
Study 216 Symbolic Figuration and Ozon's Personal Myth 217 The Common
Denominator of the Cinéma d'Auteur 225 Part III Genres, Cycles, and
Cinematic Forms 231 10 Contemporary French Comedy as Social Laboratory 233
Raphaëlle Moine Popular, Local, and Starved of Affection 236 Bienvenue chez
les Ch'tis, a Popular French Comedy 239 Comic Misadventures of Masculinity
243 The Emergence of Auteur Comedy 245 The Ambivalence of Auteur Comedy:
Variations on Personal Relationships and Middle-Class Navel-Gazing 247 11
Between Tradition and Innovation: French Crime Films During the 2000s 256
Thomas Pillard The Paradoxes of the American-style Thriller: Desire for a
Globalized Cinema and Rejection of the "New Europe" 257 The Invention of a
New Type of Transnational Crime Film 258 The "Last Combatant": Defending
French Identity in the Context of Globalization 260 The Ideological
Conservatism and Pessimism of the "Old-style" Film Noir: Cinematic
Nostalgia and Suffering Men 262 The Perils of Modern Capitalism and
Supermodernity in the Social Crime Film: Between Documentary and
(Masculine) Tragedy 266 12 Contemporary French Horror Cinema: From Absence
to Embodied Presence 275 Guy Austin The Place of Genre in French Cinema 276
French Horror since 2000 277 Horror and the Body 279 Historicizing Horror
280 The Cutting Edge of Horror Spectatorship 284 13 The Historical Film and
Contemporary French Cinema: Representing the Past in the Present 289 Hilary
Radner Genre, the Historical Film, and Historical Thinking 290 The New
History Film 292 From Heritage Film to Biopic 293 The Historical Film:
Moving into the Twenty-First Century 295 Sensationalism: The Spectacle of
History 297 The Age of Individual Moral Choice 301 Collective Memory and
Twentieth-Century History 302 The Biopic and the Cult of the Individual 305
14 Major Stars, the Heritage Film, and Patrimonial Values in Contemporary
French Cinema 314 Gwénaëlle Le Gras French Heritage Stars: Trends and
Parameters 315 Responding to the Contemporary Sense of Crisis 319 Bridging
the Gap between Auteur Cinema and Commercial Cinema 322 A Reaction to the
Disappearance of the Classical Star System 324 Countering the Supremacy of
Hollywood 325 The Younger Generation and the Uncertain Future of the
Heritage Solution 328 15 French Animated Cinema, 1990 to Present 333
Richard Neupert Michel Ocelot's Model for Feature Film Production 334
Toward a "New Wave" of French Animation 340 French Animation: 2011-2012 346
16 Contemporary French Documentary: A Renaissance, 1992-2012 356 Alison J.
Murray Levine What is a Documentary? 357 The Market for French Documentary:
A Deceptive Renaissance? 359 Recent French Documentaries: People, Subjects,
Forms 361 Webdocs and the Future of Documentary 370 Part IV Gender and
Sexuality 377 17 Pitiful Men, Instrumental Women: The Reconfiguration of
Masculine Domination in Contemporary Popular French Cinema 379 Geneviève
Sellier At the Top of the Box Office, a Gendered Asymmetry 380 1994: Women
Become Visible, But at What Price? 382 2010: The Diversity of the
Masculine, the Archaism of the Feminine 386 18 French Women Directors Since
the 1990s: Trends, New Developments, and Challenges 399 Brigitte Rollet
Women's Access to Filmmaking in France: Old and New Trends 400 Agnès Varda
and The New Wave 402 The Generation of 1968 403 The Fémis Generation 406
Generation 2000 408 An(other) French Exception? Auteur Cinema / Popular
Cinema 408 "New" Genres: Rom-Com 410 Queens of Comedy: The "Millionnaires"
of the 2000 s 411 First Films: And After? 412 19 Modes of Masculinity in
Contemporary French Cinema 419 Tim Palmer Creating/ive Masculinity: The
Artistic Agency of Emmanuel Mouret and Romain Duris 421 In the Wilderness:
Atavistic Masculinity and the Cinéma du corps 424 The Refracted Man:
Representations of Masculinity in Films by Women 429 20 Hors milieu: Queer
and Beyond 439 Nick Rees-Roberts Visible 442 Invisible 445 Relational 448
Cruising and Disorientation 450 Male Space 453 21 Sexually Explicit French
Cinema: Genre, Gender, and Sex 461 Kelley Conway Romance (Catherine
Breillat, 1999) 465 Baise-moi (Virginie Despentes and Carolie Trinh Thi,
2000) 470 Choses secrètes ( Jean-Claude Brisseau, 2002) 474 Part V
Continuities and Emerging Trends 481 22 Booking Passages: Adventures in
Adaptation in Recent French Cinema 483 T. Jefferson Kline Adaptations of
Historical Novels 484 Adaptations of Foreign Novels 491 Adaptations of
Recent Best-Selling French Novels 497 23 The Return of Theatricality in
French Cinema of the 1990s: A New Imbrication of Comedy and Melodrama 507
Marguerite Chabrol The Theatrical "Revival" 507 Context, Successes,
Strategies: The Spectacular 508 Value Judgments: The Mingling of Categories
510 A Typology of Theatrical Films: Continuities and Innovations 512 The
Place of the Spectator: Identification and Detachment 516 On "Pop" Cinema
517 Stereotypes and Performance 520 An American Approach? 524 24
Soundscapes of Loss: Songs in Contemporary French Cinema 527 Phil Powrie
The Contemporary Musical 528 Songs in Contemporary Non-Musical Films:
Theoretical and Methodological Issues 530 French-Language Songs 532
English-Language Songs 535 The Final Song in French 539 25 From the Margins
to the Center: French Stardom and Ethnicity 547 Ginette Vincendeau
Globalization and Diversity in Twenty-First Century French Stardom 547
Ethnic Casting: From the Margins to the Center 551 The "Trojan Horse" of
Comedy 556 Trans-Ethnic to Color-Blind Casting: Erasure or Integration? 560
The Power of Global Celebrity Culture 565 26 An Invention with a Future:
French Cinema After the End of Cinema 570 Martine Beugnet Vintage Cinema
571 Only the Cinema 573 Animation Retro-Style 577 Twilight Visions 580 27
The Amateur in Cinema, in France, Since 1990: Definitions, Issues, and
Trends 590 Roger Odin Familial Space: The End of the Family Film 591 The
Space of "Amateur Cinema" 594 The Space of "Different" Cinema 597 Amateur
Cinema Recognized at Last: The Space of the Document 601 The Space of
Everyday Communication: Beyond "Cinema," the Language of Images and Sounds
606 List of Contemporary French Films Since 1990 Cited in this volume 612
Bibliography 631 Index 655