Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077033
Diane Gabrysiak
Money and finance, although central in our everyday life and crucial to the making of a film, are seldom the central topic of films. French cinema of the 1970s and early 1980s offers some significant mainstream films centring on the world of money and high finance, at a time when the value of money, since the severance of the gold-exchange standard in 1971, is no longer aligned to that of gold. This article focuses on La Banquière and the way money, finance and their representation inform the story and the film’s aesthetic choices. An historical drama inspired by the life of Marthe Hanau, a bisexual and pioneering Parisian banker of the 1920s, who became the source of one of the major financial and political scandals of the Third Republic, La Banquière features Romy Schneider in the lead role. A box-office success, the film is unique in showing a woman in a position of economic and political power. Just as in other films about the invisibility of large-scale transactions, money, when visible on screen, usually as banknotes or cheques, is bad money, the sign of a transgression of some kind, leading, paradoxically, to terrible consequences. This article offers an understanding of money represented on screen through the theoretical work of Jean-Joseph Goux.
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Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077036
Rosalind Galt
The films of Claire Denis consistently make global systems visible, and do so in ways that are seductively sensory. This article analyses Denis’s film Les Salauds as a queasily affective staging of contemporary capitalism’s gendered hostility. It draws both on politically engaged theories of contemporary cinema and on the insights of affect theory to understand the film’s close imbrication of financial control and sexual exploitation. Les Salauds is almost entirely set in Paris, but it refers outward to Denis’s earlier films of transnational circulation, using Michel Subor’s performance as a monstrous exploiter as a point of commonality. The article analyses the figure of the ‘salaud’ in French culture, reading Subor’s character Laporte through Sartre. It goes on to examine how the class qualities of the salaud seep beyond character and out across the film text. What emerges is a threatening mise-en-scène that evokes the hostile condition of contemporary capitalism in its articulation of time, space and affect. Gender becomes the focus for this hostility, where economic relations are played out across the body of Justine, the sexually tortured daughter. The article asks what kinds of resistance are imaginable in this oppressive milieu.
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Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077035
D. Oscherwitz
Both Jacques Becker’s 1954 film Touchez pas au grisbi and Jacques Audiard’s 2009 film Un prophète are explorations of France’s place in a changing global economic and political landscape. Becker’s film, with its emphasis on imported gold, currency exchange, and the illusory promise of wealth and security, functions as a commentary on France’s entry into the neo-liberal economy via its participation in the American-backed European Recovery Program or Marshall Plan. Audiard’s film, released more than 50 years later, explores the consequences of globalization through France’s transition to the European Union. This film, released one year after the European Economic Recovery Plan designed to counteract the failures of the eurozone, also explores the nation at a moment of economic crisis and change.
雅克·贝克尔(Jacques Becker) 1954年的电影《肮脏的土地》(Touchez pas au grisbi)和雅克·欧迪亚(Jacques Audiard) 2009年的电影《预防》(Un preprete)都是对法国在不断变化的全球经济和政治格局中的地位的探索。贝克尔的电影强调进口黄金、货币兑换以及财富和安全的虚幻承诺，作为对法国通过参与美国支持的欧洲复苏计划或马歇尔计划而进入新自由主义经济的评论。欧迪亚的这部电影在50多年后上映，通过法国向欧盟的过渡，探讨了全球化的后果。这部电影是在旨在抵消欧元区失败的欧洲经济复苏计划一年后上映的，它也探讨了经济危机和变革时刻的国家。
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Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077031
Diane Gabrysiak, P. Powrie
The global economic crisis of 2008 was the worst since 1929. Its effects have been felt across the world, ranging from the closure or restructuring of ‘too-big-to-fail’ banks, beginning with Lehman Brothers in September 2008, to the recession of many national economies and the near-collapse of others, such as Greece, together with swinging cuts in many countries as governments attempt to absorb unsustainable levels of debt. The reasons for the crisis have been thoroughly analysed, with most commentators arguing that the principal cause was the over-confidence and greed of the banks. The Economist ran a series of articles five years on, exploring the multiple causes. These made it quite clear that the banks were the prime problem, given that they:
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Pub Date : 2015-05-04DOI: 10.1080/14715880.2014.910981
G. Austin
This article will address the concept of political depression, as defined by Anne Cvetkovich in her 2012 work Depression: A Public Feeling. Drawing comparisons between Cvetkovich and the more extended interrogation of capitalist working practices in the sociology of Alain Ehrenberg, the article will then explore how recent French film depictions of the workplace have created representations of loss that can be construed as images of political depression. These include a parallel (established in one of the chosen films and in the wider discourse) between French corporate working practices and the Holocaust. The films under analysis are Laurent Cantet’s Ressources humaines (1999) and L’Emploi du temps (2001), along with Nicolas Klotz’s La Question humaine (2007).
{"title":"Political depression and working practices in recent French cinema","authors":"G. Austin","doi":"10.1080/14715880.2014.910981","DOIUrl":"https://doi.org/10.1080/14715880.2014.910981","url":null,"abstract":"This article will address the concept of political depression, as defined by Anne Cvetkovich in her 2012 work Depression: A Public Feeling. Drawing comparisons between Cvetkovich and the more extended interrogation of capitalist working practices in the sociology of Alain Ehrenberg, the article will then explore how recent French film depictions of the workplace have created representations of loss that can be construed as images of political depression. These include a parallel (established in one of the chosen films and in the wider discourse) between French corporate working practices and the Holocaust. The films under analysis are Laurent Cantet’s Ressources humaines (1999) and L’Emploi du temps (2001), along with Nicolas Klotz’s La Question humaine (2007).","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2014.910981","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250858","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 : 2015-05-04DOI: 10.1080/14715880.2014.987517
Ahmet Süner
Godard’s films prior to 1968 are usually received as pure experimentations of style, as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard’s often frenzied cinematic experimentations in his early movies may be understood as reflections on the political, cultural and historical issues of France in the 1950s and 60s. In his early films, Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity, while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard’s early work. To sketch this unconscious, the author refers to the larger context in which philosophers, cultural critics and filmmakers take issue with notions of the everyday, spectacle, style, resistance, festivity, consumerism, as well as with the signs of postwar modernity such as cars, modern households, traffic, polls and movies.
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Pub Date : 2015-05-04DOI: 10.1080/14715880.2014.906946
Vlad Dima
This article explores Michael Haneke’s Amour by following two pairs of complementary elements: silence and noise (to which the voice is added to complete what we understand as sound in cinema), and death and love. At the core of Haneke’s project, representations of love and death are the driving narrative force of the film while the dialogue between image and sound is the aesthetic driving force. The argument shows how Amour depicts death and love on two levels: on the one hand thematically, and more importantly on the other hand cinematically, in the editing, the particularity of the shots and most clearly in the unique manipulation of sound.
{"title":"Sound, death and Amour","authors":"Vlad Dima","doi":"10.1080/14715880.2014.906946","DOIUrl":"https://doi.org/10.1080/14715880.2014.906946","url":null,"abstract":"This article explores Michael Haneke’s Amour by following two pairs of complementary elements: silence and noise (to which the voice is added to complete what we understand as sound in cinema), and death and love. At the core of Haneke’s project, representations of love and death are the driving narrative force of the film while the dialogue between image and sound is the aesthetic driving force. The argument shows how Amour depicts death and love on two levels: on the one hand thematically, and more importantly on the other hand cinematically, in the editing, the particularity of the shots and most clearly in the unique manipulation of sound.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2014.906946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60250841","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 : 2015-04-08DOI: 10.1080/14715880.2015.1018692
Milosz Paul Rosinski
In the context of ‘New French Extremity’, Michael Haneke’s films are critically received as brutal and violent. Amour (2012) addresses political and ethical questions of the treatment of the dying within the aesthetics of intimate and provocative cinema. In this article, the author explores the provocative nature of Amour in contact with philosophical questions of death and care. He theorises death using Jean-Luc Nancy’s work on cinema, the body and ethics. Understanding death as a Nancean ‘blind spot’ – a coming to presence that unfolds and intensifies existential finitude – allows the author to centrally position the knowledge of Anne’s death in this expositional realm beyond representation. With the help of Nancy’s work, he fleshes out the evidence of Anne’s death as an intensified shared experience through the film, and analyses her corporeal ‘expeausition’. He positions Amour ontologically as a Nancean ‘transimmanent’ vehicle bringing the embodied immanence of carnal spectatorship and the transcendence of the topic of death in contact. In this reading, the film as ‘exscription’ of Anne’s body, as access proper to her body and skin, enables a sense of ‘being-with’ the images and touches upon ethics, death and the cinematic medium itself.
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Pub Date : 2015-04-08DOI: 10.1080/14715880.2015.1022344
Sean Desilets
This essay argues that Robert Bresson’s final film L’Argent (1983) refuses to differentiate between financial and spiritual models of ‘redemption’. Almost every commentator on L’Argent insists that the film establishes a stark contrast between the economic circulation of value in money and the genuine value of human life, and that it aims to strip away the structures of legitimation by which capitalist ideology attempts to conceal or justify exploitation. In this reading, the film is a demystifying protest against the capitalist economy’s violation of the sanctity of human life. But a careful assessment of L’Argent’s aesthetic suggests instead that it works to include the value of human life within the purview of economic circulation, not because life is not especially valuable, but because no notion of value can evade economic considerations. L’Argent stages the drama of value in spatial terms. Starting from a rigorously anonymous and depersonalized kind of space that it associates with late-capitalist Paris, the film posits another kind of a space, a redemptive space that would be determined by the beautiful human bodies that occupy it. The film reveals, however, that this utopian space of bodily richness is itself an outgrowth and consequence of commodity culture which it cannot transcend.
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Pub Date : 2015-04-08DOI: 10.1080/14715880.2015.1020107
Jennifer Branlat
During the 1930s Danielle Darrieux emerges as a distinctly ‘mobile’ star and inhabits urban space in a more modern and itinerant fashion than other female stars of the 1930s, both in terms of the characters she plays (student, orphan, lawyer) and the city spaces in which she is represented. The film Abus de confiance/Abused Confidence (Henri Decoin, 1937) stages the importance of the city experience in a young woman’s coming of age in 1930s Paris, inviting spectators to journey through Paris from a young woman’s point of view. One the film’s most striking features is the nearly eight-minute scene during which Lydia (Darrieux) embarks on a night-time walk through the streets of Paris to reflect on the troubling events of her recent past. As a flâneuse, Lydia appropriates what Friedberg calls the ‘mobile gaze’, endowing her with spatial mobility that is challenged at different points in the narrative by male characters who serve as threatening obstacles to her journey through Paris. One of the rare films of the 1930s to feature female flânerie, Abus de confiance is a social critique that brings together discourse on wayward interwar youth culture and concerns about the mobility associated with the modern woman emblematized by Darrieux’s stardom.
在20世纪30年代，Danielle Darrieux以一种明显的“流动”明星的身份出现，与20世纪30年代的其他女明星相比，她以一种更现代、更流动的方式居住在城市空间中，无论是从她扮演的角色(学生、孤儿、律师)还是从她所代表的城市空间来看。电影《滥用自信》(Henri Decoin, 1937)展现了20世纪30年代巴黎一个年轻女子成长过程中城市经历的重要性，邀请观众从一个年轻女子的角度穿越巴黎。影片最引人注目的特点之一是近八分钟的场景，在这个场景中，莉迪亚(达里厄饰)在巴黎的街道上散步，反思她最近发生的令人不安的事情。作为一个fl女演员，莉迪亚运用了弗里德伯格所说的“移动凝视”，赋予了她空间的移动性，这在叙事的不同阶段受到了男性角色的挑战，这些男性角色在她的巴黎之旅中充当了威胁障碍。作为20世纪30年代少有的以女性flflnerie为特色的电影之一，Abus de con未婚妻是一种社会批判，它汇集了对两次世界大战之间任性的青年文化的论述，以及对与现代女性相关的流动性的关注，这些流动性以达里厄的明星身份为代表。
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