This chapter explores the relationship between modernisation, space and photography in contemporary France, and the privileged role acquired by photography as a means of portraying a sense of national identity through spatial forms. It focuses in particular on Paysages Photographies (1989), the substantial photo-book which emerged out of the work of the Mission photographique de la DATAR between 1983 and 1988. The Mission photographique was commissioned in the early 1980s by the government’s spatial planning agency, the DATAR (Délégation à l’aménagement du territoire et à l’action régionale), which had been founded in 1963 to drive forward the modernisation of French territory. Its aim was to record the consequences of two decades of spatial transformation and production in France, and by implication marking the end of a triumphant phase of activity. The chapter considers how Paysages Photographies frames and presents the spatial transformations brought about by modernisation; how it captures the impact of spatial planning on the French landscape; and the visual forms taken by planned and modernised space. It explores how different photographers responded to the environments they encountered and, like Walter Benjamin’s angel of history, create an ambivalent sense of spatial transformation as both historical wreckage and half-realised dream.
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Pub Date : 2019-03-28DOI: 10.3828/LIVERPOOL/9781786941787.003.0007
Fiona Handyside
France has recently produced a series of films by female auteurs that offer a close and sympathetic engagement with girls. This chapter concentrates on two films whose titles draw attention to their interest in the feelings and experiences of girlhood: 17 Filles (Delphine and Muriel Coulin, 2011) and Bande de filles (Céline Sciamma, 2014). The directors, through location shooting, their local geographical knowledge, and non-professional actors drawn from the area where the films are set, place their explorations of girlhood into highly specific locations. Such geographical specificity produces and evaluates a distinctive approach towards girls and girl culture, which is usually understood in a more homogenous way. Furthermore, this close attention to geography produces a topographical account of girlhood in which verticality and horizontality, and light and shade, shape varied and distinctive experiences of power and agency for girls.
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This chapter reads the French television hit Les Revenants (The Returned, Canal+, 2012-2015) as a parable of the uneasy legacy of France’s “Trente glorieuses,” the period of rapid economic growth that followed World War II. Situating the show’s fictional city and its story of failing dams in the history of the real dam that inspired it—the dam that displaced the village of Tignes in 1952—the chapter argues that Les Revenants encourages us to re-think the Trente glorieuses and its long-term effects and to ask both what became of the projects that defined these years and what has re-emerged from the shadows of their glories—from failing infrastructure and a police surveillance state to the environmental consequences now associated with the Anthropocene.
本章将法国热播电视剧《还魂者》(Les Revenants, the returns, Canal+， 2012-2015)解读为一个寓言，讲述了法国“光荣的三十年”(Trente glorieuses)——第二次世界大战后经济快速增长的时期——令人不安的遗产。这场秀的虚构的城市和它的故事没有大坝历史上真正的大坝,大坝,启发流离失所的Tignes村1952 -本章认为,Les亡魂鼓励我们反思"辉煌和它的长期影响,问都成为定义的项目,这些年来,从他们受到失败的阴影再次出现基础设施和环境后果警方监控状态现在与人类世有关
{"title":"Les Revenants, Tignes, and the Return of Post-war Modernisation","authors":"C. E. Clark, Brian R. Jacobson","doi":"10.2307/j.ctvqmp3xz.11","DOIUrl":"https://doi.org/10.2307/j.ctvqmp3xz.11","url":null,"abstract":"This chapter reads the French television hit Les Revenants (The Returned, Canal+, 2012-2015) as a parable of the uneasy legacy of France’s “Trente glorieuses,” the period of rapid economic growth that followed World War II. Situating the show’s fictional city and its story of failing dams in the history of the real dam that inspired it—the dam that displaced the village of Tignes in 1952—the chapter argues that Les Revenants encourages us to re-think the Trente glorieuses and its long-term effects and to ask both what became of the projects that defined these years and what has re-emerged from the shadows of their glories—from failing infrastructure and a police surveillance state to the environmental consequences now associated with the Anthropocene.","PeriodicalId":324635,"journal":{"name":"France in Flux","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130206318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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