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307 pages

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A propos
Informations
Extrait

Description

Will Higbee is a senior lecturer in film studies and co-director of the Centre for Research in Film Studies at University of Exeter. He is the author of Matthieu Kassovitz.

Sarah Leahy is a senior lecturer in French and film at Newcastle University. She is the author of Casque d'or.

Will Higbee and Sarah Leahy are associate editors of Studies in French Cinema.

Introduction – W. Higbee and S. Leahy

PART I

Chapter1: 'Pierrot le fou' and post-New Wave French cinema – Jill Forbes

Chapter 2: National Cinemas and the Body Politic – Susan Hayward

Chapter 3: Unfamiliar Places: 'heterospection' and recent French films on children – Phil Powrie

Chapter 4: The circular ruins? Frontiers, exile and the nation in Renoir’s 'Le Crime de Monsieur Lange' – Keith Reader

Chapter 5: Beurz N the Hood: The articulation of Beur and French identities in 'Le Thé au harem d'Archimède' and 'Hexagone' – Carrie Tarr

Chapter 6: Community, Nostalgia and the Spectacle of Masculinity – Ginette Vincendeau

PART II

Chapter 7: Asserting text, context and intertext: Jill Forbes and French Film Studies – Julia Dobson

Chapter 8: Jill Forbes: The continued conversation – Sue Harris

Chapter 9: Political Threads and Material Memory: Mayo’s Wardrobe for 'Casque d’or' (1952) – Jennie Cousins

Chapter 10: ‘Une vraie famille Benetton’: Maternal metaphors of nation in 'Il y a longtemps que je t’aime' (Claudel, 2008) - a response to Susan Hayward – Sarah Leahy

Chapter 11: Phil Powrie: French film studies as a heterotopic field – Ann Davies

Chapter 12: Men in Unfamiliar Places: A response to Phil Powrie – Alison Smith

Chapter 13: To elicit and elude: The film writing of Keith Reader – Douglas Morrey

Chapter 14: Sexuality (and Resnais): A response to Keith Reader – Emma Wilson

Chapter 15: Of spaces and difference in 'La Graine et le mulet' (Kechiche, 2007): A dialogue with Carrie Tarr – Will Higbee

Chapter 16: Cinema, the second sex and studies of French women’s films in the 2000s – Kate Ince

Chapter 17: The bafflement of Gabin and Raimu and the breathlessness of Belmondo: a dialogue with the work of Ginette Vincendeau – Martin O'Shaughnessy

Chapter 18: Placing French Film History – Alastair Phillips

PART III

Chapter 19: To the distant observer – Jill Forbes

Chapter 20: Censoring French ‘Cinéma de qualité’ — 'Bel-Ami' (Louis Daquin, 1954) – Susan Hayward

Chapter 21: Raymond Bernard's 'Les Misérables' (1934) – Keith Reader

Chapter 22: Jewish-Arab Relations in French and Maghrebi Cinema(s) – Carrie Tarr

Chapter 23: The Frenchness of French Cinema: The language of national identity, from the regional to the trans-national – Ginette Vincendeau

Chapter 24: Four decades of teaching and research in French cinema – Phil Powrie

Sujets

France

Informations

Publié par	Intellect Books Ltd
Date de parution	27 mai 2014
Nombre de lectures	0
EAN13	9781841504476
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Studies in French Cinema
Dedicated to the memory of Jill Forbes
Studies in French Cinema
UK perspectives, 1985-2010
Edited by Will Higbee and Sarah Leahy
First published in the UK in 2011 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2011 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2011 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover designer: Holly Rose Copy-editor: Rebecca Vaughan-Williams Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-323-3 / EISBN 978-1-84150-447-6
Printed and bound by Gutenberg Press, Malta.
Contents
Acknowledgements
Contributors
Chapter 1: Introduction
Will Higbee and Sarah Leahy
Part I
Chapter 2: Pierrot le fou and Post-New Wave French Cinema
Jill Forbes
Chapter 3: National Cinemas and the Body Politic
Susan Hayward
Chapter 4: Unfamiliar Places: Heterospection and Recent French Films on Children
Phil Powrie
Chapter 5: The Circular Ruins? Frontiers, Exile and the Nation in Renoir s Le Crime de Monsieur Lange
Keith Reader
Chapter 6: Beurz n the Hood: The Articulation of Beur and French Identities in Le Th au harem d Archim de and Hexagone
Carrie Tarr
Chapter 7: Community, Nostalgia and the Spectacle of Masculinity: Jean Gabin Ginette Vincendeau
References to Part I
Part II
Chapter 8: Asserting Text, Context and Intertext: Jill Forbes and French Film Studies
Julia Dobson
Chapter 9: Jill Forbes: The Continued Conversation
Sue Harris
Chapter 10: Political Threads and Material Memory: Mayo s Wardrobe for Casque d or (1952)
Jennie Cousins
Chapter 11: Une vraie famille Benetton : Maternal Metaphors of Nation in Il y a longtemps que je t aime (2008) - a Response to Susan Hayward
Sarah Leahy
Chapter 12: Phil Powrie: French Film Studies as a Heterotopic Field
Ann Davies
Chapter 13: Men in Unfamiliar Places: A Response to Phil Powrie
Alison Smith
Chapter 14: To Elicit and Elude: The Film Writing of Keith Reader
Douglas Morrey
Chapter 15: Sexuality (and Resnais): A Response to Keith Reader
Emma Wilson
Chapter 16: Of Spaces and Difference in La Graine et le mulet (2007): A Dialogue with Carrie Tarr
Will Higbee
Chapter 17: Cinema, the Second Sex and Studies of French Women s Films in the 2000s
Kate Ince
Chapter 18: The Bafflement of Gabin and Raimu and the Breathlessness of Belmondo: A Dialogue with the Work of Ginette Vincendeau
Martin O Shaughnessy
Chapter 19: Placing French Film History
Alastair Phillips
References to Part II
Part III
Chapter 20: To the Distant Observer
Jill Forbes
Chapter 21: Censoring French Cin ma de qualit - Bel-Ami (1954/1957)
Susan Hayward
Chapter 22: Raymond Bernard s Les Mis rables (1934)
Keith Reader
Chapter 23: Jewish-Arab Relations in French, Franco-Maghrebi and Maghrebi Cinemas
Carrie Tarr
Chapter 24: The Frenchness of French Cinema: The Language of National Identity, from the Regional to the Trans-national
Ginette Vincendeau
Chapter 25: Four Decades of Teaching and Research in French Cinema
Phil Powrie
References to Part III
Index
Acknowledgements
W e are grateful to the Intellect team for supporting this project from the outset, and in particular to the editorial and design staff for their careful attention to detail. We would also like to thank Intellect for the cover images, and the Association for Studies in French Cinema for generously financing the images in the book. We are grateful to Martin McKeand, Alex Nice and the French Department of Queen Mary University, London, in particular Sue Harris, for allowing us to publish Jill Forbes s keynote address, To the distant observer . And of course, we would like to thank all our contributors for their enthusiasm for the project; we have thoroughly enjoyed collaborating with everyone involved.
All images are courtesy of the Biblioth que du Film (BiFi), Paris, unless otherwise stated, and are reproduced with the kind permission of the authors, where known. Every effort has been made to contact the authors of the images used in this publication. Images from Pierrot le fou and L Ann e derni re Marienbad (Georges Pierre) are reproduced with the permission of Laurence Pierre de Geyer; De battre mon c ur s est arr t (Jean-Claude Lother and Why Not Productions); Casque d or (Paris Films Coop [Paris] and Speva Films); Mauvaise passe (Path Cin ma and Etienne George); Ma femme est une actrice (Renn Productions [Paris] and Nathalie Eno); La Graine et le mulet (Pierre Collier); La Femme du boulanger (Roger Corbeau and Agence photographique de la RMN); Gueule d amour (ACE Alliance Cin matographique Europ enne); Sous les toits de Paris (Lazare Meerson). No information was available regarding the authors or copyright holders of images from Les Enfants du paradis, Bel-ami, Les Mis rables, La B te humaine or L Ennemi publique no 1 . The still from Dans la vie is reproduced courtesy of Pyramide Films, with the kind permission of Philippe Faucon.
Contributors
Jennie Cousins is a Lecturer in Critical, Contextual and Historical Studies at Plymouth College of Art, specializing in film and fashion studies. She also works as a freelance costume designer for film and theatre. She is the author of Unstitching the film costumes: Hidden Designers, Hidden Meanings (VDM Verlag, 2009).
Ann Davies is Senior Lecturer in Spanish at Newcastle University. Her books include Daniel Calparsoro (Manchester University Press, 2009), Pedro Almod var (Grant and Cutler, 2007) and Carmen on film: A Cultural History (with Phil Powrie, Chris Perriam and Bruce Babington, Indiana University Press, 2007). She is also co-editor of The Trouble with Men: Masculinities in European and Hollywood Cinema (with Phil Powrie and Bruce Babington, Wallflower Press, 2004) and Carmen: From Silent Film to MTV (with Chris Perriam, Rodopi, 2005). She has also written various articles on Hispanic cinema.
Julia Dobson is Senior Lecturer in French at the University of Sheffield and has published widely on contemporary French cinema, including work on Kieslowski, first-person documentary and Jacques Audiard. A book on Cabrera, Lvovsky, Masson and Vernoux is forthcoming, to be published by Manchester University Press. She also publishes on contemporary French theatre, and her current research in this field focuses on performing objects .
Jill Forbes (1947-2001) held academic posts at the universities of Paris (Ecole Normale Superi ure), Leicester, Loughborough, London South Bank, Strathclyde, Bristol and Queen Mary, University of London. She was a prolific author of work on French cinema and cultural studies, and major texts include The Cinema in France: After the New Wave (Macmillan, 1992) and Les Enfants du paradis (BFI, 1997). She was also a founder-editor of the journals Paragraph and French Cultural Studies . She died at the age of 54 following treatment for cancer.
Sue Harris is Reader in French Cinema Studies at Queen Mary, University of London. She is the author of Bertrand Blier (MUP, 2001), co-author of Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema (AUP, 2007) and co-editor of France in Focus: Film and National Identity (with Elizabeth Ezra, Berg, 2000) and From Perversion to Purity: The Stardom of Catherine Deneuve (with Lisa Downing, MUP, 2007).
Susan Hayward is Professor of Cinema Studies at the University of Exeter. She has published widely on French cinema; her books include French National Cinema (Routledge, 1993; 2nd ed. 2005), Luc Besson (MUP, 1998), Simone Signoret: The Star as Cultural Sign (Continuum, 2004), Les Diaboliques (I.B. Tauris, 2005) and French Costume Drama of the 1950s: Fashioning Politics in Film (Intellect, forthcoming). She is also the author of Cinema Studies: The Key Concepts (Routledge, 1996; 3rd ed. 2006).
Will Higbee is Senior Lecturer in Film Studies at the University of Exeter and an assistant editor of the Intellect journal Studies in French Cinema . He is the author of Mathieu Kassovitz (MUP, 2007). He has published on Maghrebi-French and North African migr film-making, contemporary French cinema and transnational cinemas in a variety of journals and edited collections. He is currently working on a monograph for Edinburgh University Press entitled Cinemas of the North African Diaspora in France.
Kate Ince is Reader in French Film and Gender Studies at the University of Birmingham. Her research in film studies includes the monograph Georges Franju (MUP, 2005), translated into French as Georges Franju: au-del du cin ma fantastique (L Harmattan/Les Presses universitaires de Laval, 2008). She is also editor of the volume Five Directors: Auteurism from Assayas to Ozon (MUP, 2008), as well as the author of essays on various contemporary film-makers. She is currently working on articles on women auteur directors, and planning a book in this area.
Sarah Leahy is Senior Lecturer in French and Film at Newcastle University and assistant editor of the Intellect journal Studies in French Cinema . She is the author of Casque d or (I.B. Tauris, 2007), and has also published on stardom and femininity, Agn s Jaoui, Pr vert and the Groupe Octobre, and cinema-going in Newcastle upon Tyne. She is currently researching screenwriters and classic French cinema.
Douglas Morrey is Senior Lecturer in French at the University of Warwick. He is the author of Jean-Luc Godard (MUP, 2005) and the co-author of Jacques Rivette (with Alison Smith, MUP, 2009).
Martin O Shaughnessy is Professor of Film Studies at Nottingham Trent University. He is the author of Jean Renoir (MUP, 2000), The New Face of Political Cine