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Produktbild: A Companion to Contemporary French Cinema

A Companion to Contemporary French Cinema

Aus der Reihe CNCZ - The Wiley-Blackwell Companions to National Cinemas

251,99 €

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

02.02.2015

Herausgeber

Alistair Fox + weitere

Verlag

John Wiley & Sons

Seitenzahl

712

Maße (L/B/H)

25,4/17,7/3,8 cm

Gewicht

1367 g

Auflage

1. Auflage

Sprache

Englisch

ISBN

978-1-4443-3899-7

Beschreibung

Produktdetails

Einband

Gebundene Ausgabe

Erscheinungsdatum

02.02.2015

Herausgeber

Verlag

John Wiley & Sons

Seitenzahl

712

Maße (L/B/H)

25,4/17,7/3,8 cm

Gewicht

1367 g

Auflage

1. Auflage

Sprache

Englisch

ISBN

978-1-4443-3899-7

Herstelleradresse

Libri GmbH
Europaallee 1
36244 Bad Hersfeld
DE

Email: gpsr@libri.de

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  • Produktbild: A Companion to Contemporary French Cinema
  • 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