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Description

Europe and Love in Cinema explores the relationship between love and Europeanness in a wide range of films from the 1920s to the present. A critical look at the manner in which love—in its broadest sense—is portrayed in cinema from across Europe and the United States, this volume exposes constructed notions of "Europeanness" that both set Europe apart and define some parts of it as more "European" than others. Through the international distribution process, these films in turn engage with ideas of Europe from both outside and within, while some, treated extensively in this volume, even offer alternative models of love. A bracing collection of essays from top film scholars, Europe and Love in Cinema demonstrates the centrality of desire to film narrative and explores multiple models of love within Europe's frontiers.

Introduction

Part One: Disciplinary and Historical Contexts

Chapter 1: Cinema and Academia: Of Objects of Love and Objects of Study– Thomas Elsaesser

Chapter 2: For Love or Money: Transnational Developments in European Cinema in the 1920s – Andrew Higson

Chapter 3: Love beyond the Nation: Cosmopolitanism and Transational Desire in Cinema – Tim Bergfelder

Part Two: Impossible Loves

Chapter 4: Love in two British films of the late silent period: Hindle Wakes (Maurice Elvey, 1927) and Piccadilly (E.A. Dupont, 1929) – Laura Mulvey

Chapter 5: La dame de Malacca or Eurocentrism’s dream of omnipotence – Luisa Passerini

Chapter 6: Love and colonial ambivalence in Spanish Africanist cinema of the early Franco dictatorship – Jo Labanyi

Part Three: Movements in Time-Space

Chapter 7: The love-lives of others: reconstructing German national identity in postwar and post-unification cinema – Seán Allan

Chapter 8: Exiled memories: transnational memoryscapes in recent French cinema – Liliana Ellena

Chapter 9: Migration, attachment, belonging: filming the Mediterranean in Spain and Italy – Enrica Capussotti

Part Four: Cultural Reinscriptions

Chapter 10: Luis Buñuel and explosive love in southern Europe – Luisa Accati

Chapter 11: Love and belonging in Western – Lucy Mazdon

Chapter 12: A conflicted passion: European film – Karen Diehl

Sujets

Vie de famille

Parentalité et Éducation des Enfants

Relations familiales

Sociologie, société et politique

General officer

Parenting

General

Cultural Studies

Film

Informations

Publié par	Intellect Books Ltd
Date de parution	01 janvier 2012
Nombre de lectures	0
EAN13	9781841506722
Langue	English
Poids de l'ouvrage	2 Mo

Informations légales : prix de location à la page 0,1250€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Europe and Love in Cinema
Europe and Love in Cinema
Edited by Luisa Passerini, Jo Labanyi and Karen Diehl
First published in the UK in 2012 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2012 by
Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 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: Michael Eckhardt
Typesetting: John Teehan
ISBN 978-1-84150-379-0
Printed and bound by Hobbs, UK
Contents
List of illustrations
Introduction
Part I - Disciplinary and historical contexts
Chapter 1: Cinema and academia: of objects of love and objects of study
Thomas Elsaesser
Chapter 2: For love or money: transnational developments in European cinema in the 1920s
Andrew Higson
Chapter 3: Love beyond the nation: cosmopolitanism and transnational desire in cinema
Tim Bergfelder
Part II - Impossible loves
Chapter 4: Love in two British films of the late silent period: Hindle Wakes (Maurice Elvey, 1927) and Piccadilly (E.A. Dupont, 1929)
Laura Mulvey
Chapter 5: La dame de Malacca or Eurocentrism s dream of omnipotence
Luisa Passerini
Chapter 6: Love and colonial ambivalence in Spanish Africanist cinema of the early Franco dictatorship
Jo Labanyi
Part III - Movements in time-space
Chapter 7: The love-lives of others: reconstructing German national identity in postwar and post-unification cinema
Se n Allan
Chapter 8: Exiled memories: transnational memoryscapes in recent French cinema
Liliana Ellena
Chapter 9: Migration, attachment, belonging: filming the Mediterranean in Spain and Italy
Enrica Capussotti
Part IV - Cultural re-inscriptions
Chapter 10: Luis Bu uel and explosive love in southern Europe
Luisa Accati
Chapter 11: Love and belonging in Western
Lucy Mazdon
Chapter 12: A conflicted passion: European film
Karen Diehl
Notes on contributors
Index
List of illustrations
Figure 1. British publicity material for The Road to Happiness (Curtiz, 1926; prod. Sascha/ Phoebus). Source: British Film Institute Special Collections.
Figure 2. British publicity material for Red Heels (Curtiz, 1926; prod. Sascha). Source: Kinematograph Weekly , January 1926.
Figure 3. Crossing the water, traversing boundaries - La Habanera (Sirk, 1937; prod. Ufa).
Figure 4. Crossing the water, traversing boundaries - The Edge of Heaven (Ak n, 2007; prod. Anka Film/Dorje Film/NDR) .
Figure 5. Fanny and Allan: the end of the roller coaster ride - Hindle Wakes (Elvey, 1927; prod. Gaumont British Picture Corporation).
Figure 6. Shosho and Valentine: this is our Piccadilly - Piccadilly (Dupont, 1929; prod. British International Pictures).
Figure 7. Poster for La dame de Malacca (All gret,1937; prod. R gina). Source: Luisa Passerini, Enrica Capussotti and Giuseppe Lauricella (2003), Moving History (multimedia CD-ROM), Florence: European University Institute.
Figure 8. Audrey in Hindu dance costume, contemplating herself before wiping the sign of Shiva off her forehead - La dame de Malacca (All gret, 1937; prod. R gina). Source: Luisa Passerini, Enrica Capussotti and Giuseppe Lauricella (2003), Moving History (multimedia CD-ROM), Florence: European University Institute.
Figure 9. Poster for Harka! (Ar valo, 1941; prod. Ar valo P. C./Cifesa), foregrounding the romantic relationship between Carlos and Amparo, which he will renounce for Africa. Source: Filmoteca Espa ola. Video Mercury Films.
Figure 10. Captain Andrade and his Tuareg princess lover, Halima - La llamada de frica (Ardav n, 1952; prod. Hesperia Films). Source: Filmoteca Espa ola. C sar F. Ardav n.
Figure 11. The funeral - Good Bye, Lenin! (Becker, 2003; prod. X-Filme Creative Pool/ WDR/WDR-Arte).
Figure 12. Piet I: Wiesler with the dying Sieland - The Lives of Others (von Donnersmarck, 2006; prod. Arte/BR/Creado Film/Wiedemann Berg Filmproduktion).
Figure 13. Piet II: Dreyman with the dying Sieland - The Lives of Others (von Donnersmarck, 2006; prod. Arte/BR/Creado Film/Wiedemann Berg Filmproduktion).
Figure 14. Aim e and Prot e look at each other in the mirror - Chocolat (Denis, 1988; prod. Caroline Productions/Cerito Films/Cin manuel/La Sept Cin ma/Le FODIC Cameroun/MKZ Productions/TFI Films Production/Wim Wenders Productions).
Figure 15. Zano and Na ma battle their way through the flood of emigrants on arrival in Algeria - Exils (Gatlif, 2004; prod. Princes Films/Pyramide Productions/Cofimages 15/ Canal +/ITPS Cin ma/TV5 Monde/Nikkaton/Na ve).
Figure 16. The migrants final departure - Poniente (Guti rrez, 2002; prod. Amboto Audiovisual/Amboto P. C./Antena 3/Olmo Films/Via Digital).
Figure 17. The Mediterranean as home - Tornando a casa (Marra, 2001; prod. Classic).
Figure 18. Conchita (Carole Bouquet) cradles Mathieu in her arms - Cet obscur objet du d sir (Bu uel, 1977; prod. Greenwich Film Productions/Les Films Galaxie/Incine).
Figure 19. Paco, Nino and Baptiste play Bonjour la France - Western (Poirier, 1997; prod. Salom /Diaphana Films/Canal +/CNC).
Figure 20. Mar a marks the spot for the kill with lipstick - Matador (Almod var, 1986; prod. Cia. Iberoamericana de TV/TVE).
Figure 21. Watching screen kisses - Nuovo Cinema Paradiso (Tornatore, 1988; prod. Cristaldifilm/Les Films Ariane/Pete 3/TFI Films Production/Forum Picture).
Introduction
T his book brings together the work of cultural historians and film scholars. Its aim is to explore the cultural implications of the treatment of love in a number of European fiction films made in Britain, France, Germany, Spain, Italy and Greece from the 1920s to the present. The book is not a straightforward contribution to film studies - it does not attempt to offer a historical overview of European cinema (many such volumes already exist), 1 nor does it set out to analyse the cinematographic style of the genres and directors discussed. Rather, positioning itself at the interface between cultural history and film studies, it asks what the analysis of film can offer to an understanding of the history of subjectivity. Our concern is not so much with individual subjectivity as with the cultural imaginary of particular societies at specific historical moments. Cinema - and particularly popular cinema - is an especially valuable vehicle for study of the cultural imaginary since it plays to mass audiences.
The premise underlying this volume is that films express powerful fantasies about what is felt to be desirable or undesirable. Given this, it is not surprising that so many fiction films should be love stories, by definition inviting audience identification with particular models of desire, whose success or failure sets up norms for what may or may not legitimately be desired. As so much cultural studies scholarship has demonstrated (in film studies, see for example Stacey 1992 and Kuhn 2002), interpretation involves a negotiation between the possible meanings allowed by the text and the emotional needs of the consumer - a negotiation that is central to the construction of a sense of identity. This is a complex process: in the course of the narrative, films trigger in spectators a series of identifications that are mobile and plural. What matters in a love story is not only the ending (often conventional) but the travails experienced by the protagonists along the way, and one s identifications can move between different characters or attach themselves simultaneously to characters who are antagonists. Nevertheless, while spectatorship is always negotiated and identification is never fixed or monolithic, we should remember Ella Shohat and Robert Stam s reminder that the film apparatus can make spectators identify with characters who do not represent their own interests: non-white viewers, too, find themselves cheering as the cowboys kill the Indians (1994: 347-48).
This collection of essays grew out of the collaborative work for the international research project Europe: Emotions, Identities, Politics based at the Kulturwissenschaftliches Institut, Essen (Germany) from 2002 to 2004. The research team, directed by Luisa Passerini and including Jo Labanyi as a participant, was created thanks to a research prize of the Land of Nordrhein-Westfalen awarded to Luisa Passerini for that period. Several single-authored and edited volumes from that research collaboration have been published (Passerini 1999; Passerini and Mas 2004; Passerini 2009; Passerini, Ellena and Geppert 2010). Since cinema was a significant focus in this project, a later workshop Europe in Cinema, Cinema in Europe was held at the University of Southampton (UK) in 2005, organized by Jo Labanyi and funded by the European Science Foundation, to further discuss film s potential for European identity formation. Both Luisa Passerini and Karen Diehl participated in the Southampton workshop. Europe and Love in Cinema brings together new work by participants in the original project and subsequent workshop. The editors also invited contributions from other scholars in the field of European cultural history and cinema to broaden the range of films and issues covered.
This volume follows the focus of these prior research collaborations, which was not simply to explore concepts, representations and practices of love in Europe but, more specifically, to analyse the ways in which these intersect with ideas of European identity. In taking further the discussion of cinema at Essen and Southampton, this book sets out to examine how this intersection has evolved since the 1920s. The particular kinds of love relationship that have interested us are those that come under the umbrella of romantic love : a term w