Pub Date : 2019-10-02DOI: 10.1080/14715880.2017.1356136
J. S. Williams
Abstract Abderrahmane Sissako's celebrated Bamako (2006) stages a public trial of the debt policies of the International Monetary Fund and World Bank in Africa in a shared courtyard in Bamako. By putting both western and African film aesthetics and modes of spectatorship also on trial through formal strategies of address and mise en scène, it appears a stylised return to the politically engaged social realism of Ousmane Sembène. Yet, by allowing an astonishing array of matter (human and non-human, real and fictional) to drift graphically into its frame and intrude into the very law of the economic and geopolitical, Bamako also insists on material process and aesthetic friction, opening up new hybrid spaces of spectatorial speculation and interpretation in postcolonial art cinema not bound by the demands of allegory and ideological thinking. Focusing in close detail on the intricate, self-reflexive rifts and fractures of montage in two discrete episodes (an extended scene of migration testimony, a suicide followed by funeral procession), the author shows how Sissako’s poetic investment in form not only exposes but also directly resists the hegemonic violence the film implacably relates. Such formations of violent beauty demand we reconceive the very nature of political aesthetics and the function of screen violence.
摘要Abderrahmane Sissako著名的《巴马科》（2006）在巴马科的一个共享庭院里对国际货币基金组织和世界银行在非洲的债务政策进行了公开审判。通过正式的寻址和mise en scène策略，西方和非洲电影美学和观众模式也受到了考验，这似乎是对奥斯曼·塞姆贝政治参与的社会现实主义的风格化回归。然而，通过允许一系列惊人的物质（人类和非人类，真实和虚构）以图形的方式漂移到其框架中，并侵入经济和地缘政治的规律，巴马科也坚持物质过程和美学摩擦，在后殖民艺术电影中开辟了不受寓言和意识形态思维要求约束的新的视觉思辨和阐释的混合空间。作者在两个离散的情节中（移民证词的延伸场景，自杀后的葬礼游行），详细地关注了蒙太奇中复杂的、自我反射的裂痕和断裂，展示了Sissako在形式上的诗意投资不仅暴露了而且直接抵制了电影中无情的霸权暴力。这种暴力美的形成要求我们重新认识政治美学的本质和银幕暴力的功能。
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Pub Date : 2019-10-02DOI: 10.1080/14715880.2017.1416328
Andrew Asibong
Abstract Laurent Cantet’s film Vers le sud (2005), based on three short stories by the Haitian-Canadian author Dany Laferrière, explores the problems of ‘aliveness’ and ‘deadness’, both physical and psychical, questioning the systemic and emotional methods by which these states become racialised and concomitantly commodified. Central to the film’s living potency is the acuity of its politicised analysis: from start to finish, Vers le sud shines an unswerving spotlight on the simultaneous precariousness and over-exposure of certain kinds of Black (in this case, poor Haitian adolescents’ and children’s) lives. The film’s politics, grounded in a lucid presentation of the material and ideological conditions of racialised inequality on which neo-colonial, neo-liberal (and, in this case, sexualised) tourism takes place, are combined with a specifically cinematic critique of the gaze of the wealthy, White female subject who buys the power not only to look at this life, but also, vampirically, to ingest its perceived qualities of vitality. Politics and aesthetics come together in the film to deconstruct a set of (frequently masked and insidious) operations formed at the disavowed crossroads of capitalist, racist and child-abusing phantasies of corporeal and emotional appropriation.
洛朗·坎泰(Laurent Cantet)的电影《我的世界》(Vers le sud, 2005)改编自海地裔加拿大作家丹尼·拉费瑞特(Dany laferri)的三篇短篇小说，探讨了身体和精神上的“活着”和“死亡”问题，质疑了这些状态被种族化和伴随而来的商品化的系统和情感方法。影片生命力的核心在于其敏锐的政治分析:从开始到结束，《爱你》始终聚焦于某些黑人(在这种情况下，是贫穷的海地青少年和儿童)生活的不稳定和过度曝光。这部电影的政治背景是对新殖民主义、新自由主义(在这种情况下，是性化的)旅游所处的种族化不平等的物质和意识形态条件的清晰呈现，它与对富有的白人女性主体的凝视的特殊电影批评相结合，这些白人女性主体不仅购买了观察生活的权力，而且像吸血鬼一样，摄取了它所感知到的活力品质。在影片中，政治和美学结合在一起，解构了在资本主义、种族主义和虐待儿童的肉体和情感占有的不可否认的十字路口形成的一系列(经常是隐藏的和阴险的)行动。
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Pub Date : 2019-07-03DOI: 10.1080/14715880.2017.1419615
Ipek A Celik Rappas
Abstract This article examines Rachid Bouchareb’s London River, Hors la loi and La Route d’Istanbul. The trilogy explores terrorism’s many forms that range from anti-colonial and ethno-national to state and jihadist terror in the twentieth century. Hors la loi, a narrative of anti-colonial Algerian terrorism, exposes the juxtaposing meanings of being outside the law – as victims of the unjust colonial law and as a strategy to use victimhood as a weapon. London River and La Route d’Istanbul, on the other hand, by focusing on the grief of politically neutral parents, leave the origins and causes of jihadist terrorism unexplored.
本文考察了拉希德·布查雷布的《伦敦河》、《爱之路》和《伊斯坦布尔之路》。三部曲探讨了恐怖主义的多种形式，从20世纪的反殖民主义、民族主义到国家恐怖主义和圣战恐怖主义。Hors la loi是反殖民主义阿尔及利亚恐怖主义的叙述，揭露了法律之外的并列意义-作为不公正的殖民法律的受害者和作为利用受害者身份作为武器的策略。另一方面，《伦敦河》和《伊斯坦布尔之路》聚焦于政治中立父母的悲痛，却没有探究圣战恐怖主义的起源和原因。
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Pub Date : 2019-07-03DOI: 10.1080/14715880.2017.1411576
S. Petty
Abstract This essay explores how the Moroccan film Le Temps du terrorisme uses the frame of the artistic/creative process to stage a study of religious fanaticism and its tragic consequences. Drawing on melorealism, the filmmaker uses tropes of comedy and farce already familiar to his theatre and television audiences, but he also layers his text with self-reflexive strategies of direct address and narrator as witness. These devices work to bridge the distance between fiction and reality, and author and audience. As filmmaker, Aziz Saâdallah forges a personal relationship between artist and viewer and carves out a space for a dialectics of the artistic process: demanding an active audience, posing questions and forcing the viewer to think. He thus seeks to raise debate across a wide range of spectators and poses complex questions of responsibility, tolerance and the role of artistic expression in the present-day times of terrorism.
本文探讨摩洛哥电影《恐怖主义的时代》如何运用艺术/创作过程的框架来研究宗教狂热及其悲剧性后果。这位电影制作人运用了他的戏剧和电视观众已经熟悉的喜剧和闹剧的修辞手法，以美化现实主义为基础，但他也用直接说话和叙述者作为证人的自我反思策略来分层他的文本。这些工具在小说与现实、作者与观众之间架起了一座桥梁。作为电影制作人，Aziz sa dallah在艺术家和观众之间建立了一种个人关系，并为艺术过程的辩证法开辟了一个空间:要求活跃的观众，提出问题，迫使观众思考。因此，他试图在广泛的观众中引发辩论，并提出责任、宽容和艺术表达在当今恐怖主义时代的作用等复杂问题。
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Pub Date : 2019-07-03DOI: 10.1080/14715880.2017.1413523
Greta Bliss
Abstract This article discusses the critical portrayal of displacement, violence and trauma in two feature-length fiction films released just after the Algerian civil conflict (1991–2001): Rachida (Yamina Bachir-Chouikh, 2002) and Viva Laldjérie (Nadir Moknèche, 2004). In each film, the domestic displacement of a mother–daughter duo represents the experiences of a populace ‘exile[d] in [its] own country’ (Rachida). Images depicting the condition of ‘internal exile’ reflect a pervasive sense of fear, instances of anti-civilian violence and the difficulty of transcending historical structures such as gender codes and state power. Depicting figures of internal exile offers a radical visual testimony to a country long deprived of history and memory by official policies of amnesia, including censorship. Bachir-Chouikh and Moknèche use contrasting techniques to reveal undercurrents of outrage, malaise and dégoûtage (disgust) among Algerians, not only at the sheer horror of terrorism and other forms of violence, but also at the potential complicity of the authoritarian state in the atrocities of Algeria’s ‘black decade’.
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Pub Date : 2019-06-12DOI: 10.1080/14715880.2018.1531338
Maria Flood, Florence Martin
Characterisations of the post 9–11 world we inhabit have by now become worn-out clichés evocative of pre-modern wars of religion: the ‘religious century’ (allegedly predicted by Malraux in 1972) of a ‘clash of civilizations’ (Huntington 1996) has turned into the epoch of a ‘global war on terror’ (Bush 2001) that has displaced populations and created a ‘flood of refugees’ (themselves suspected of terrorism) in Europe. The terrorism craze, imaged and relayed seemingly ad infinitum in the media worldwide, has reached horrific proportions. Artists and filmmakers have imaged it in distinct creative ways, carefully decanting facts from fiction, and dissecting the emotional impacts on the public from the spectacle of terrorist attacks. This issue deals with the French and Francophone representations on film, rendered all the more urgent by the attacks in Morocco (in Casablanca on 16 May 2003), Tunisia (in Tunis on 18 March 2015), France (in Paris on 13 November 2015), and the immediate political knee-jerk reactions that fed into the terrorism phobia. Indeed, although European citizens perpetrated the attacks, migrant ‘flooding’ was blamed for them, thus shoring up a pre-existing ‘us vs. them’ discourse against migrants. For terrorism has become an obsession from the late twentieth century on in political discourse. In 1987, postcolonial and cultural theorist Edward Said argued against the hyperbolic mania and inflated rhetoric of what he called the recent ‘terrorism craze’: terrorism, particularly terrorism committed by nominally ‘Muslim’ agents, has supplanted Communism as ‘public enemy number one’ (1987, 195), and assumed an oversized role as cultural bogeyman in the Western public consciousness. This aggrandisement of the terrorist threat, prescient Said argued, serves a number of functions (that are well known today): it mobilises public opinion for foreign wars, legitimating ‘various sorts of murderous action’; it institutionalises ‘the denial and avoidance of history’ (195); and it serves to redirect ‘careful scrutiny of the government’s domestic and foreign policies’ (195). The semantic field of terrorism studies then becomes saturated by magnified, Manichean rhetoric, seeking to construct an opposition between the terrorised West and the terrorist Other: ‘“We” are never terrorists; it’s the Moslems, Arabs and Communists who are’ (198). Benjamin Barber would later characterise this ‘us versus them’ dichotomy as the conflict between the regressive, traditionalist movements of ‘jihad’ and the allconsuming force of capitalism – or ‘McWorld’ (1992). Samuel Huntingdon more polemically theorised the ‘West versus the Other’ binary as a ‘clash of civilizations’ (Huntington 1996) between the Muslim and the non-Muslim worlds. The terrorist threat elevated to the level of a civilisational menace by a force of radical evil makes it easier to ignore the role played by the West in histories of colonialism and postcolonial domination, as well as the on-going oc
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Pub Date : 2019-05-23DOI: 10.1080/14715880.2019.1596595
P. Powrie
Allaoui, Mounir. 2016. ‘Dialogues interculturels entre la critique et les institutions cinématographiques en France et le “cinéma d’auteur asiatique” (Corée du Sud, Japon, Taïwan): De la notion de “nouvelle vague” à la réalisation de films de cinéastes asiatiques en France’, Montpellier 3, France. Amaral, Genevieve M. 2017. ‘Act Six: Aristocracy and History in Interwar French Literature and Film’, Northwestern, USA. Astourian, Laure Maude. 2016. ‘Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign 1954–1968’, Columbia, USA. Azzouz, Aziza. 2016. ‘L’espace domestique: Dialectique intérieur/extérieur à la lumière de la filmographie de Nouri Bouzid (1986–2006): L’homme de cendres: Cas d’analyse’, Rennes, France. Bellan, Katharina. 2017. ‘Marseille filmée: Images, histoire, mémoires 1921–2011’, AixMarseille, France. Billaut, Manon. 2017. ‘André Antoine, metteur en scène de la réalité: Une expérimentation appliquée au cinéma (1915–1928)’, Sorbonne Paris Cité, France. Bouarour, Sabrina. 2018. ‘Les masculinités dans les films musicaux et les mélodrames de Jacques Demy et Vincente Minnelli’, Sorbonne Paris Cité, France. Bradbury-Rance, Clara. 2016. ‘Figuring the Lesbian: Queer Feminist Readings of Cinema in the Era of the Visible’, Manchester, UK. Cadalanu, Marie. 2016. ‘Le film musical français dans les années trente: Constitution d’un genre?’, Caen, France. Cao, Shuai. 2016. ‘La politique publique du cinéma en France: Enjeux, stratégies et perspectives’, Dijon, France. Castro, Jennifer de. 2017. ‘Le Festival de Cannes et la promotion du cinéma (1946– 1972): Le 7ème art, un objet culturel protéiforme au service du prestige national’, Sorbonne Paris Cité, France. Champomier, Emmanuelle. 2018. ‘Contribution à l’histoire de la presse cinématographique française: Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940’, Sorbonne Paris Cité, France. Chen, Chieh-Yao, 2017. ‘Les figurants dans les films de Jean Renoir: Modernité des anonymes et méthode de l’égalité au cinéma’, Sorbonne Paris Cité, France. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 356–358 https://doi.org/10.1080/14715880.2019.1596595
阿拉维，穆尼尔，2016。“法国影评人和电影机构与“亚洲导演电影”(韩国、日本、台湾)之间的跨文化对话:从“新浪潮”的概念到亚洲电影人在法国的电影制作”，蒙彼利埃3，法国。阿马拉尔，吉纳维芙M. 2017。六:‘Act Aristocracy and History in Interwar French文学与美国西北大学,“电影。阿斯图里安，洛尔·莫德，2016。“大都会框架之外:新Vague和外国1954 - 1968”，哥伦比亚，美国。阿祖兹，阿祖兹，2016。《家庭空间:努里·布齐德电影记录下的内部/外部辩证法》(1986 - 2006):灰烬中的人:案例分析》，雷恩，法国。卡塔琳娜·贝兰，2017年。“马赛电影:图像，历史，记忆1921 - 2011”，艾克斯马赛，法国。比劳特，玛侬，2017。“andre Antoine，导演en scene de la realidad: Une experimentation applied au cinema(1915 - 1928)”，巴黎索邦大学cite，法国。Sabrina Bouarour, 2018年。“Les masculinites dans Les films musicaux et Les melodrama de Jacques Demy et vincent minnelli”，巴黎索邦大学cite，法国。布拉德伯里-兰斯，克拉拉，2016。《女同性恋形象:视觉时代的酷儿女权主义电影阅读》，曼彻斯特，英国。卡达拉努，玛丽，2016。20世纪30年代的法国音乐电影:一种类型的构成?= =地理= =根据美国人口普查，该县的总面积为，其中土地和(1.)水。曹，帅，2016。“法国电影的公共政策:挑战、策略和视角”，第戎，法国。詹妮弗·德·卡斯特罗，2017年。“Le Festival de Cannes et la promotion du cinema (1946 - 1972): Le 7eme art, un objet culturel proteiforme au service du prestige nationale”，巴黎索邦大学cite，法国。艾曼纽，Champomier, 2018。“对法国电影出版社历史的贡献:etude comparee de la genese et de evolution de douze revue de cinema entre 1908 et 1940”，巴黎索邦大学cite，法国。陈志勇，2017年。“让·雷诺阿电影中的临时演员:匿名的现代性和电影中的平等方法”，巴黎索邦大学cite，法国。《法国电影研究2019》，第19卷，NO。4, 356 - 358 https://doi.org/10.1080/14715880.2019.1596595
{"title":"Theses on French and Francophone cinema 2016–2018","authors":"P. Powrie","doi":"10.1080/14715880.2019.1596595","DOIUrl":"https://doi.org/10.1080/14715880.2019.1596595","url":null,"abstract":"Allaoui, Mounir. 2016. ‘Dialogues interculturels entre la critique et les institutions cinématographiques en France et le “cinéma d’auteur asiatique” (Corée du Sud, Japon, Taïwan): De la notion de “nouvelle vague” à la réalisation de films de cinéastes asiatiques en France’, Montpellier 3, France. Amaral, Genevieve M. 2017. ‘Act Six: Aristocracy and History in Interwar French Literature and Film’, Northwestern, USA. Astourian, Laure Maude. 2016. ‘Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign 1954–1968’, Columbia, USA. Azzouz, Aziza. 2016. ‘L’espace domestique: Dialectique intérieur/extérieur à la lumière de la filmographie de Nouri Bouzid (1986–2006): L’homme de cendres: Cas d’analyse’, Rennes, France. Bellan, Katharina. 2017. ‘Marseille filmée: Images, histoire, mémoires 1921–2011’, AixMarseille, France. Billaut, Manon. 2017. ‘André Antoine, metteur en scène de la réalité: Une expérimentation appliquée au cinéma (1915–1928)’, Sorbonne Paris Cité, France. Bouarour, Sabrina. 2018. ‘Les masculinités dans les films musicaux et les mélodrames de Jacques Demy et Vincente Minnelli’, Sorbonne Paris Cité, France. Bradbury-Rance, Clara. 2016. ‘Figuring the Lesbian: Queer Feminist Readings of Cinema in the Era of the Visible’, Manchester, UK. Cadalanu, Marie. 2016. ‘Le film musical français dans les années trente: Constitution d’un genre?’, Caen, France. Cao, Shuai. 2016. ‘La politique publique du cinéma en France: Enjeux, stratégies et perspectives’, Dijon, France. Castro, Jennifer de. 2017. ‘Le Festival de Cannes et la promotion du cinéma (1946– 1972): Le 7ème art, un objet culturel protéiforme au service du prestige national’, Sorbonne Paris Cité, France. Champomier, Emmanuelle. 2018. ‘Contribution à l’histoire de la presse cinématographique française: Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940’, Sorbonne Paris Cité, France. Chen, Chieh-Yao, 2017. ‘Les figurants dans les films de Jean Renoir: Modernité des anonymes et méthode de l’égalité au cinéma’, Sorbonne Paris Cité, France. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 356–358 https://doi.org/10.1080/14715880.2019.1596595","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"19 1","pages":"356 - 358"},"PeriodicalIF":0.0,"publicationDate":"2019-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2019.1596595","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47271339","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}
Pub Date : 2019-04-24DOI: 10.1080/14715880.2019.1582264
P. Powrie
Abadie, Shahram. Architecture des salles obscures: Paris, 1907-1939: Paris: AFHRC. Armes, Roy. Roots of the New Arab Film. Bloomington: Indiana University Press. Aurouet, Carole. Le Cinéma de Guillaume Apollinaire: Des manuscrits inédits pour un nouvel éclairage. Paris: Grenelle. Aventin, Christine. Breillat, des yeux le ventre. Bruxelles: Espace nord. Bazin, André. Écrits complets. 2 vols. Edited by Hervé Joubert-Laurencin. Paris: Macula. Bazin, André. Selected Writings 1943–1958. Translated by Timothy Barnard. New Brunswick: Rutgers University Press. Beausson-Diagne, Nadege, et al. Noire n’est pas mon métier. Paris: Seuil. Bert, Jean-François Pioud. Baisers volés: De François Truffaut. Paris: Grenelle. Bloom, Michelle E. Contemporary Sino-French Cinemas: Absent Fathers, Banned Books, and Red Balloons. Honolulu: University of Hawai’ï Press. Boutang, Adrienne. Hugo Clémot, Laurent Le Forestier, Laurent Jullier, Raphaëlle Moine, and Luc Vancheri. L’Analyse des films en pratique: 31 exemples commentés d’analyse filmique. Paris: Armand Colin. Brett, Oliver. Performing Place in French and Italian Queer Documentary Film: Space and Proust’s Lieu Factice. Basingstoke: Palgrave Macmillan. Chahine, Youssef. Le Révolutionnaire tranquille (Interviewed by Tewfik Hakem for France-Culture). Nantes: Capricci. Clémot, Hugo. Cinéthique. Paris: Vrin. Cowans, Jon. Film and Colonialism in the Sixties: The Anti-Colonialist Turn in the US, Britain, and France. London: Routledge. De Haas, Patrick. Cinéma absolu: Avant-garde 1920-1930. Paris: Macula. Dousteyssier-Khoze, Catherine. Claude Chabrol’s Aesthetics of Opacity. Edinburgh: Edinburgh University Press. Dufays, Sophie, Dominique Nasta, and Marie Cadalanu., edsConnaît-on la chanson?: Usages de la chanson dans les cinémas d’Europe et d’Amérique Latine depuis 1960. Bern: Peter Lang. Faroult, David. Godard: Inventions d’un cinéma politique. Paris: Les Prairies ordinaires. Forest, Claude. Production et financement du cinéma en Afrique sud saharienne francophone (19602018). Paris: L’Harmattan. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 353–355 https://doi.org/10.1080/14715880.2019.1582264
阿巴迪，沙赫拉姆。暗室建筑：巴黎，1907-1939年：巴黎：AFHRC。武器，罗伊。新阿拉伯电影的根源。布卢明顿：印第安纳大学出版社。奥鲁埃，卡罗尔。Guillaume Apollinaire的电影：新照明的未发表手稿。巴黎：格雷内尔。阿文丁，克里斯汀。布雷拉特，眼睛和肚子。布鲁塞尔：北埃斯佩斯。巴赞，安德烈。完整的写作。2航班。由HervéJoubert Laurencin编辑。巴黎：黄斑。巴赞，安德烈。1943-1958年选集。由蒂莫西·巴纳德翻译。新不伦瑞克：罗格斯大学出版社。博森·迪亚涅、纳吉等人，布莱克不是我的职业。巴黎：门槛。伯特，让-弗朗索瓦·皮奥德。偷来的吻：弗朗索瓦·特鲁法。巴黎：格雷内尔。布鲁姆，米歇尔E.当代中法电影院：缺席的父亲、禁书和红气球。火奴鲁鲁：夏威夷大学出版社。布唐，阿德里安。Hugo Clémot、Laurent Le Forestier、LaurentJullier、Raphaëlle Moine和Luc Vancheri。实践中的电影分析：31个电影分析评论示例。巴黎：阿尔芒·科林。布雷特，奥利弗。法国和意大利酷儿纪录片中的表演场所：空间和普鲁斯特的虚拟场所。贝辛斯托克：帕尔格雷夫·麦克米伦。查因，优素福。《安静的革命者》（特菲克·哈基姆为法国文化采访）。南特：卡普里奇。克莱莫特，雨果。电影。巴黎：Vrin。考恩斯，乔恩。60年代的电影与殖民主义：美国、英国和法国的反殖民主义转向。伦敦：劳特利奇。哈斯，帕特里克。绝对电影：先锋派1920-1930。巴黎：黄斑。Dousteyssier Khoze，凯瑟琳。Claude Chabrol的不透明美学。爱丁堡：爱丁堡大学出版社。杜菲斯、索菲、多米尼克·纳斯塔和玛丽·卡达拉努。，我们知道这首歌吗？：自1960年以来，这首歌在欧洲和拉丁美洲的电影院中的使用。伯尔尼：彼得·朗，法罗，大卫。戈达尔：政治电影的发明。巴黎：普通的草地。森林，克劳德。法语撒哈拉以南非洲的电影制作和融资（1960-2018年）。巴黎：哈马坦。2019年法国电影研究，第19卷，第4期，353-355https://doi.org/10.1080/14715880.2019.1582264
{"title":"Books published on French and Francophone cinema in 2018","authors":"P. Powrie","doi":"10.1080/14715880.2019.1582264","DOIUrl":"https://doi.org/10.1080/14715880.2019.1582264","url":null,"abstract":"Abadie, Shahram. Architecture des salles obscures: Paris, 1907-1939: Paris: AFHRC. Armes, Roy. Roots of the New Arab Film. Bloomington: Indiana University Press. Aurouet, Carole. Le Cinéma de Guillaume Apollinaire: Des manuscrits inédits pour un nouvel éclairage. Paris: Grenelle. Aventin, Christine. Breillat, des yeux le ventre. Bruxelles: Espace nord. Bazin, André. Écrits complets. 2 vols. Edited by Hervé Joubert-Laurencin. Paris: Macula. Bazin, André. Selected Writings 1943–1958. Translated by Timothy Barnard. New Brunswick: Rutgers University Press. Beausson-Diagne, Nadege, et al. Noire n’est pas mon métier. Paris: Seuil. Bert, Jean-François Pioud. Baisers volés: De François Truffaut. Paris: Grenelle. Bloom, Michelle E. Contemporary Sino-French Cinemas: Absent Fathers, Banned Books, and Red Balloons. Honolulu: University of Hawai’ï Press. Boutang, Adrienne. Hugo Clémot, Laurent Le Forestier, Laurent Jullier, Raphaëlle Moine, and Luc Vancheri. L’Analyse des films en pratique: 31 exemples commentés d’analyse filmique. Paris: Armand Colin. Brett, Oliver. Performing Place in French and Italian Queer Documentary Film: Space and Proust’s Lieu Factice. Basingstoke: Palgrave Macmillan. Chahine, Youssef. Le Révolutionnaire tranquille (Interviewed by Tewfik Hakem for France-Culture). Nantes: Capricci. Clémot, Hugo. Cinéthique. Paris: Vrin. Cowans, Jon. Film and Colonialism in the Sixties: The Anti-Colonialist Turn in the US, Britain, and France. London: Routledge. De Haas, Patrick. Cinéma absolu: Avant-garde 1920-1930. Paris: Macula. Dousteyssier-Khoze, Catherine. Claude Chabrol’s Aesthetics of Opacity. Edinburgh: Edinburgh University Press. Dufays, Sophie, Dominique Nasta, and Marie Cadalanu., edsConnaît-on la chanson?: Usages de la chanson dans les cinémas d’Europe et d’Amérique Latine depuis 1960. Bern: Peter Lang. Faroult, David. Godard: Inventions d’un cinéma politique. Paris: Les Prairies ordinaires. Forest, Claude. Production et financement du cinéma en Afrique sud saharienne francophone (19602018). Paris: L’Harmattan. STUDIES IN FRENCH CINEMA 2019, VOL. 19, NO. 4, 353–355 https://doi.org/10.1080/14715880.2019.1582264","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"19 1","pages":"353 - 355"},"PeriodicalIF":0.0,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2019.1582264","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46956850","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}
Pub Date : 2019-04-03DOI: 10.1080/14715880.2017.1389426
K. Dooley
Abstract Writer/director Catherine Breillat’s most recent film, Abus de faiblesse (2013), explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director Maud (Breillat’s alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat’s previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as ‘other’. With reference to scholarly work on disability and the ageing female body, the article suggests that Maud’s sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the ageing female body.
作家/导演凯瑟琳·布雷亚(Catherine Breillat)的最新电影《Abus de fablesse》(2013)探讨了身体转变的一个重要时刻:从健全的身体转变为残疾的身体。这部半自传体电影讲述了电影导演莫德(布雷亚的另一个自我)的故事，莫德在中风致残后与骗子维尔科建立了破坏性的关系。这部电影与布雷亚之前的作品在探索女性身体在银幕上的建构本质上是一致的。过去，电影制作人描绘了创伤和转变的时刻(如分娩、失去童贞或强奸)，以颠覆物化的过程。文章认为，Abus de fablesse挑战和颠覆了绝经后和残疾的身体在屏幕上的表现。这部电影质疑二元对立，如有能力/残疾和独立/依赖，以挑战残疾身体作为“他者”的表征。参考有关残疾和女性身体衰老的学术研究，文章认为莫德与维尔科的施虐受虐关系是在她中风后为了保持她的主体性而追求的。文章论证了这部电影剖析了女性身体衰老的恐惧和未知领域。
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Pub Date : 2019-04-03DOI: 10.1080/14715880.2018.1448957
F. Giraud
Abstract Made on the fringes of the Hollywood industry in 1969, Lions Love (… and Lies) is little known in Agnès Varda’s filmography. Instead of considering it as an isolated experimental attempt or as an ephemeral digression, the author argues that Lions Love occupies a pivotal position in Varda’s cinema. The film brings to the fore key theoretical aspects of her aesthetics, such as the use of the classical arts as a source of inspiration filtering through the mise en scène and contrasting with its modernist features, the emphasis on the tangible reality of the cinematic medium, and finally the exhibition of the filmmaker’s practice. For the first time in her career, Varda appears herself behind and before the camera. In this perspective, the author suggests analysing Lions Love in relation to her later films such as Les Glaneurs et la glaneuse (2000), which develops similar ideas, gestures and motifs. Inspired by Andy Warhol and pop art, but also by Picasso’s neoclassical etchings, Varda creates a self-reflexive collage in which she idealises the craft of filmmaking in response to the Hollywood industry.
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