Pub Date : 2023-12-06DOI: 10.1080/09639489.2023.2289965
Antonia Wimbush
Published in Modern & Contemporary France (Ahead of Print, 2023)
《现当代法国》出版(2023年印刷前)
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Pub Date : 2023-11-30DOI: 10.1080/09639489.2023.2246917
Oana Sabo
This article analyses the mass media reception of Annie Ernaux’s 2022 Nobel Prize, particularly the criticisms in the French press. After the award announcement, Ernaux was at once celebrated for h...
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Pub Date : 2023-11-29DOI: 10.1080/09639489.2023.2284757
Michael Seidman
Published in Modern & Contemporary France (Ahead of Print, 2023)
《现当代法国》出版(2023年印刷前)
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Pub Date : 2023-11-28DOI: 10.1080/09639489.2023.2277295
Joanne Pettitt
Published in Modern & Contemporary France (Ahead of Print, 2023)
《现当代法国》出版(2023年印刷前)
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Pub Date : 2023-11-28DOI: 10.1080/09639489.2023.2284762
Tony Chafer
Published in Modern & Contemporary France (Ahead of Print, 2023)
《现当代法国》出版(2023年印刷前)
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Pub Date : 2023-11-24DOI: 10.1080/09639489.2023.2265853
Pascal Convert, Nigel Saint
Published in Modern & Contemporary France (Ahead of Print, 2023)
《现当代法国》出版(2023年印刷前)
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Pub Date : 2023-11-10DOI: 10.1080/09639489.2023.2277296
Lia Brozgal
"Late-Colonial French cinema. Filming the Algerian War of Independence." Modern & Contemporary France, ahead-of-print(ahead-of-print), pp. 1–2
“晚期殖民时期的法国电影。拍摄阿尔及利亚独立战争。”《现当代法国》，印前版，第1-2页
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Pub Date : 2023-11-09DOI: 10.1080/09639489.2023.2265859
Fiona Barclay
This article examines the ‘guerre des mémoires’ that has defined the memorial landscape surrounding the Algerian War and seen it mired it in a competitive memory dynamic that Benjamin Stora terms ‘une surenchère victimaire’. It argues that since the fiftieth anniversary of independence in 2012 there are signs of attempts to move beyond the impasse. Drawing on the work of Jacques Rancière, Chantal Mouffe and Anna Cento Bull, the article examines two recent plays that adopt contrasting approaches to the aim of representing conflicting experiences of the war. Et le cœur fume encore features elements of Rancerian thought, emphasising the multiplicity of conflicting experiences, and interrupting viewer empathy through distancing techniques that disengage actor from character to defer empathetic engagement until the full complexity of post-war experience is made available. In contrast, Les Pieds tanqués works to create an entente between audience and characters that emphasises not only division but also the culture and humour that unites protagonists from different backgrounds.
这篇文章考察了定义了围绕阿尔及利亚战争的纪念景观的“战争与杀戮”，并看到它陷入了本杰明·斯托拉称之为“一个牺牲者”的竞争性记忆动态中。它认为，自2012年独立50周年以来，有迹象表明有人试图打破僵局。本文借鉴了雅克·朗西、尚塔尔·墨菲和安娜·琴托·布尔的作品，研究了最近两部戏剧，它们采用了截然不同的方法来表现战争中相互冲突的经历。Et le cœur fume encore具有Rancerian思想的元素，强调冲突经历的多样性，并通过将演员从角色中分离出来的距离技术来中断观众的移情，从而推迟移情参与，直到战后经历的全部复杂性可用。相比之下，《Les Pieds tanquacims》在观众和角色之间创造了一种协约，不仅强调了分歧，还强调了文化和幽默，将不同背景的主角团结在一起。
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Pub Date : 2023-11-03DOI: 10.1080/09639489.2023.2269396
Antoine Coppola
ABSTRACTLe film de Leos Carax « Annette » projeté au festival de Cannes en 2021 n’a laissé personne indifférent : quelque chose d’important se disait à propos du cinéma et, en particulier, du cinéma français. Le fil conducteur de notre analyse du film est celui de l’auto-psychanalyse de l’auteur, Carax lui-même nous invitant à le faire. Il en sort un récit personnel tragique mais aussi un sur-moi caraxien de génie maudit du cinéma très médiatique que le film tente de mêler à une critique du show-biz en général. Légère, cette critique pourtant s’éclairer à la lumière des notions de régime de véridiction de Michel Foucault et de régime scopique selon Jay Martin. Une organisation du voir-vu et du montrant-montré hante autant la société que le cinéma dits postmodernes ; celui de Carax en particulier qui tente de l’énoncer-dénoncer comme Jean-Luc Godard en jouant de la métadiégétique. Cette hantologie ou fantomachie à la manière de Derrida ne parvient pourtant pas à une critique du spectacle qui ne serait pas un spectacle de la critique comme les conditions dans lesquelles le film a été fait et diffusé le montrent.ABSTRACTLeos Carax’s film ‘Annette’, screened at the Cannes Film Festival in 2021, left no one indifferent: something important was being said about cinema and, in particular, about French cinema. The thread running through our analysis of the film is that of the author’s self-psychoanalysis, with Carax himself inviting us to do so. What emerges is a tragic personal account, but also a Caraxian ego of a cursed genius of highly mediatised cinema, which the film attempts to mix with a critique of showbiz in general. This criticism is light, but it is illuminated by the notions of Michel Foucault’s regime of veridiction and Jay Martin’s scopic regime. An organisation of seeing-seen and showing-shown haunts both so-called postmodern society and cinema; that of Carax in particular, who tries to announce-denounce it like Jean-Luc Godard by playing with meta-diegetics. This hantology or fantomachy in the manner of Derrida does not, however, achieve a critique of the spectacle that is not a spectacle of critique, as the conditions in which the film was made and broadcast show. Déclaration de divulgationAucun conflit d’intérêts potentiel n’a été rapporté par l’auteur.Notes1. A ce sujet voir le concept « d’esthétique publicitaire » de Journot (Citation2005, 5).2. Carax dit : « Est-ce que je pouvais vraiment faire un film sur un si mauvais père, à ce moment-là de ma vie ?. Mais comme j’écoutais les chansons en boucle, ma fille a fini par les aimer autant que moi et à me poser des questions … » (Carax Citation2020, 8).3. Notons ici la possibilité d’un effet métadiégétique : le film « Annette » est un projet d’opéra rock, à l’origine, proposé par les musiciens du groupe Sparks. La paternité pourrait donc en être disputée avec le réalisateur qui met en scène ce conflit latent à travers la représentation du conflit Henry-chef d’orchestre.4. Paolo Campana d
莱昂斯·卡拉克斯(Leos Carax)的抽象电影《安妮特》(Annette)在2021年戛纳电影节(Cannes film festival)上上映，没有人对此无动于衷:关于电影，尤其是法国电影，有一些重要的言论。我们分析这部电影的主线是作者的自我精神分析，卡拉克斯本人也邀请我们这样做。它产生了一个悲剧性的个人故事，但也产生了一个卡拉克斯式的超我，一个被诅咒的媒体电影天才，电影试图将其与对演艺圈的批评混合在一起。这种批评是温和的，但根据米歇尔·福柯的验证制度和杰伊·马丁的透视制度的概念得到了启发。一种眼见为闻、观众对观众的组织困扰着社会和所谓的后现代电影;尤其是卡拉克斯的作品，他试图像让-卢克·戈达尔(Jean-Luc Godard)那样，通过运用元哲学来表达和谴责他。然而，这种德里达风格的汉托学或幻像并没有达到对表演的批评，这不是一种批评的表演，正如电影制作和发行的条件所显示的那样。卡拉克斯的电影《安妮特》在2021年戛纳电影节上上映，没有人无动于衷:关于电影，尤其是关于法国电影，人们说了一些重要的事情。这部电影的主题是作者的自我精神分析，卡拉克斯自己邀请我们这样做。这是一个悲剧性的个人故事，但也是一个被谴责的天才的自负的电影，这部电影试图与一般的娱乐评论混合。这种批评很轻，但它被米歇尔·福柯的验证制度和杰伊·马丁的scopic制度的概念所阐明。一个所谓后现代社会和电影的观赏性和娱乐性鬼城组织;that of,特别是,谁给announce-denounce like it行业(jean - luc Godard by meta-diegetics一起演奏。在德里达的风格中，这个hantology或fantomachy没有，但是，在电影制作和广播节目的条件下，对这个节目的评论不是一个评论节目。披露声明作者未报告潜在的利益冲突。关于这个问题，请参阅Journot的“广告美学”概念(引文2005,5)。卡拉克斯说:“在我生命中的那个时刻，我真的能拍一部关于这样一个坏父亲的电影吗?但当我一遍又一遍地听这些歌曲时，我的女儿最终和我一样喜欢它们，并问我问题……”让我们在这里注意到元哲学效应的可能性:电影《安妮特》最初是一个摇滚歌剧项目，由斯帕克斯乐队的音乐家们提出。因此，父亲的身份可能会与导演产生争议，导演通过对亨利和指挥家之间冲突的再现，将这种潜在的冲突置于舞台上。保罗·坎帕纳(Paolo Campana)对这一分析给出了一个更“轻松”的版本，他写道:il suo universo fatto d ' incontri irrealizzabili e di doppi di se stesso in cui la dimensions delle reverie e dell ' invisible domina sul reale(…)。他的宇宙(Carax)是由不可能实现的相遇和自我的“双重”组成的，在那里梦想和无形的维度支配着现实的维度(…)(Campana Citation2014, 290)。在卡拉克斯的上一部电影《神圣的汽车》中，精神分裂症方面的发展;谢尔顿·盖斯凯尔(Sheldon Gaskell)写道:“他不再是数字时代的‘电影制作人’，而是计算机文件和代码的组织者，这个角色引发了他与数字技术相关的多重无形身份的精神分裂困境。”leo Carax“神圣汽车”中的数字精神分裂症和技术发生(引用2017,11)。
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Pub Date : 2023-10-24DOI: 10.1080/09639489.2023.2262921
Robert Hughes
In The Parasite (1980), philosopher Michel Serres invites readers to reflect on hypocrisy in a non-moral sense. Ruminating upon the example of Molière’s Tartuffe, Serres takes up the scandalous imposture of the hypocrite and he shows, at the heart of comic pretence, what this essay describes as an underdetermination of identity and individuation. That is, where readers, theatregoers, and participants in public discourse would ground thought upon a principle of determinacy and individuation—for example determinations of the basic wickedness of hypocrites and parasites—philosophical considerations of these figures (and the phenomenon of comic action) explode this principle to suggest an ontological and discursive space of inconsistency and intermediacy. By examining Tartuffe’s ingratiating language of piety and the play’s surprising figures of grace, this essay shows how discursive systems and social systems are equally devoted to ideals of determinable identity that leave them vulnerable to operators who can discern and exploit the inevitable sites of latent incoherence and inconsistency. The essay concludes by developing Serres’s notions of comedy as a play between consistency and inconsistency, individuation and disindividuation, a sad and severed fragmentariness (as with Plato’s Aristophanes), but also the generative spawning of a supplemental comic critical consciousness.
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