Pub Date : 2018-10-08DOI: 10.1080/14715880.2018.1526518
Mackenzie Leadston
ABSTRACT The term humour communautaire has been adopted to describe the widely popular genre of ethnic comedy cinema in France, films both praised for their ability to bring together diverse groups through humour while also raising scepticism as to whether a genre reliant upon stereotypes is not simply producing racist rhetoric. Such typecasting is particularly salient when non-European characters are juxtaposed against white counterparts, notably the case in films about interracial marriage. While stereotypes are certainly an important aspect of the representation of race in these films, this paper deviates from this typical reading to examine instead how the mise en scene in Romuald & Juliette (1989) and Qu’est-ce qu’on a fait au Bon Dieu ? (2014) undercuts narrative unity through spatial hierarchies and visual separation of racially marked bodies and white French characters. By interpreting the politics of representation in contemporary interracial comedies through the colonial and postcolonial theories of Albert Memmi and Frantz Fanon, it argues that the films ultimately portray the impossibility of complete cohesion as found in colonial-era cinema.
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Pub Date : 2018-09-13DOI: 10.1080/14715880.2018.1511031
A. Castaldo
ABSTRACT On the surface, Rohmer’s first two Moral Tales deal with romantic episodes in the lives of young people. As with his other works, here the director does not make explicit his political point of view. In this paper, the author shows how Rohmer’s construction of these stories functions as a compensatory figuration through which he could cope with the historical problems of his time, namely the Algerian War, which weighed heavily on him both professionally and intellectually in his position as editor in chief of Cahiers du cinéma. The author analyses how the formal construction of these two films reflects the ideological framework projected onto them, particularly through Rohmer’s use of memorial perspective (in the form of voice-over) that drives the stories, both told as youthful memories. At the same time, the author shows how this ideology intertwines with a self-deconstructive agency able to undo the coherent production of meaning. This reading shows how Rohmer’s depiction of relationships between men and women – so important for the later development of his cinema – both conceals and transforms a colonial ideology that needed to find a new way to express itself to survive in a supposedly ‘post-colonial’ France.
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Pub Date : 2018-09-11DOI: 10.1080/14715880.2018.1511182
Maria Flood
ABSTRACT This article explores the connections between vulnerability, gender and terrorist violence in relation to Algerian filmmaker Djamila Sahraoui’s Yema (2012). The film is situated in relation to Sahraoui’s oeuvre, and within wider debates around the changing nature of political violence and its representation in Maghrebi and Hollywood cinema. This comparison underlines Yema’s innovatory formal and thematic focus on slow narrative time, sparse aesthetics and fragile, intimate images. The article then examines the concept of vulnerability in relation to terrorism, in particular linking Sahraoui’s choice of formal techniques to the film’s thematic staging of various modes of physical and psychical vulnerability. The allegorical and mythological motifs used in Yema are considered in relation to the gendering of the figures of victim and agent in the film. Through a feminist reconfiguration of the myth of Medea, the article suggests that in the film’s dramatisation of a mother who inflicts suffering, larger questions are raised about personal and political responses to the feelings of exposure that terrorist violence engenders.
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Pub Date : 2018-09-10DOI: 10.1080/14715880.2018.1493645
M. O'shaughnessy
ABSTRACT Contemporary French and Francophone Belgian cinema has produced a wave of worker suicides that outdoes even Jean Gabin’s repeated cinematic deaths of the later 1930s. This article discusses its significance in the context of neo-liberalism and develops an analytical toolkit for making sense of it, taking its main theoretical inspirations from Slavoj Žižek’s theorisation of violence and Carl Cederström and Peter Fleming’s analysis of worker suicide, but also drawing on Michel Foucault’s account of parrhesia as the scandalous living of another life in this life. The article suggests that most of the films considered use the apparently subjective violence of worker suicide to force the unseen violences of neo-liberal labour into view, while only a few move beyond this denunciatory position to probe both what a parrhesiastic exit from neo-liberal labour, a killing of the worker-in-the-self, might look like and all that prevents it.
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Pub Date : 2018-09-05DOI: 10.1080/14715880.2018.1510655
J. O’Dwyer
As a country which offered an intellectual home to post-1968 spatial theory, and whose identity and frame of geopolitical influence is expressed in geometric terms (Hexagone, Francosphere), France ...
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Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1323466
E. Thomas
Abstract J’ai découvert Gare du Nord (2013) au moment de sa sortie en salle à Lille. Je suis retournée plusieurs fois le voir au Métropole, persuadée qu’il y avait dans ce film – mêlant fiction et documentaire – quelque chose d’essentiel qui était dit sur la France actuelle, sur nos liens, sur la fragilité de nos mythes et sur le recours à l’imaginaire. Sur la vie. Quelque chose qui n’était pas dit ailleurs. Lorsque quelques mois plus tard j’ai visionné le documentaire Géographie humaine (coffret DVD 2014), le même engouement ressenti m’a déterminé à réfléchir et à travailler sur ce qui me paraît relever d’une subtile anthropologie des lieux et de la société française. Pour ce faire, j’ai pris contact, à l’occasion de cette co-direction de la revue, avec Claire Simon. La réalisatrice m’a reçue chez elle en avril 2015 pour une conversation qui m’a semblé aussi précieuse qu’éclairante.
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Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1293773
Olivia C. Harrison
Abstract This article examines the historical conjunction of anticapitalist and anticolonial movements in France in the late 1960s and early 1970s through a close reading of Jean-Luc Godard’s short film on Vietnam, Camera-eye, and the pro-Palestinian film he made in collaboration with Jean-Pierre Gorin and Anne-Marie Miéville, Ici et ailleurs. Though Ici et ailleurs is exemplary of the double critique of capital and empire that crystallised in the Marxist–Leninist and Maoist discourses of the late 1960s and early 1970s, Godard and Miéville’s film does not take for granted the convergence of progressive leftist and anticolonial discourse. On the contrary, it deconstructs the facile consumption of Third World revolutions in order to pose the conditions of a truly political engagement with anticolonial struggles. The apparently unrelated critique of consumer culture in what was initially a propaganda film for the Palestinian resistance enables Godard and Miéville to advocate for ‘the cause of the other’ without turning Palestine into an object of consumption for a complacent, post-revolutionary left.
摘要本文通过仔细阅读让-吕克·戈达尔关于越南的短片《Camera eye》，以及他与让-皮埃尔·戈林和安妮·玛丽·米耶维尔、Ici等人合作拍摄的亲巴勒斯坦电影，探讨了20世纪60年代末和70年代初法国反资本主义和反殖民运动的历史结合。尽管Ici et ailleurs是20世纪60年代末和70年代初马克思主义-列宁主义和毛主义话语中对资本和帝国的双重批判的典范，但戈达尔和米耶维尔的电影并不认为进步左派和反殖民主义话语的融合是理所当然的。相反，它解构了对第三世界革命的简单消费，以便为真正的政治参与反殖民斗争创造条件。在最初是巴勒斯坦抵抗运动宣传片的电影中，对消费文化的明显无关的批判使戈达尔和米耶维尔能够倡导“他人的事业”，而不会将巴勒斯坦变成自满的后革命左派的消费对象。
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Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1382250
E. Thomas
Dans Jean Rouch, premier film: 1947–1991, devant la caméra de Dominique Dubosc et face à trois interlocuteurs,1 Rouch évoque ses débuts de cinéaste et le devenir de son premier film documentaire effectué en Afrique. Au cours d’un voyage il filme à la frontière du Mali et du Niger une chasse à l’hippopotame. Il prend soin de décrire la technique, en capturant notamment la préparation des harpons, et de saisir le rituel de la chasse elle-même. De retour à Paris, ce bout de film, d’une durée de 20 minutes, est projeté au Musée de l’Homme devant Lévi-Strauss, Leroi Gouhan, Griaule et Leiris. L’effort est salué. Après une nouvelle projection dans une cave parisienne, Rouch se retrouve indirectement mis en contact avec le directeur des Actualités françaises et, par conséquent, une possibilité de production. Ce dernier se déplace pour visionner le film et « l’affaire est faite! » Mais le film, initialement tourné en 16 mm, sera gonflé à 35 mm, réduit à 10 minutes et Rouch devra rédiger de courts commentaires explicitant ce qui se déroule à l’image. Nous dit Rouch: « Et un jour on voit un monstre qui s’appelle Au pays des Mages Noirs [1947] ». Aux rushs de tournages, le directeur a fait rajouter différents plans sans lien avec le film – des lions, des girafes... – « une musique à la confiture » et surtout un commentaire aux relents colonialistes lu par un radioreporter du Tour de France. Et ce film marche, indique Rouch qui précise aussitôt : « J’avais honte ». Ce que nous donne à voir le cadre de Dominique Dubosc est une opération de réappropriation des images. Pour ce faire, Rouch se focalisera sur la séquence finale de son film, coupera le son et commentera en direct ces images filmées en 1947. Il terminera ainsi sont premier film en 1991. La célébration, cette année, du centenaire de Jean Rouch est une occasion d’introduire la question documentaire et ce détour par le film de Dominique Dubosc va nous permettre de soulever différents points concernant les débats toujours actuels autour de celle-ci. Considérons ainsi dans un premier temps, la question de la forme que prend un ensemble d’images issues d’un enregistrement du « réel ». Le documentaire – qui se constitue en un champ complexe pour le public des festivals, des salles de cinéma ou de la télévision – nous invite à considérer avec la plus grande prudence toute tentative de catégorisation et/ou de définition. Dans la formulation de Grierson, « l’idée documentaire ne demande rien de plus que porter à l’écran, par n’importe quel moyen, les préoccupations de notre temps, en frappant l’imagination et avec une observation aussi riche que possible » (Marsolais 1997, 49). Rien de plus ? En France et à l’étranger, de nombreuses approches – qu’elles soient esthétiques, théoriques, historiques, pragmatiques – inscrites dans divers débats interrogent encore aujourd’hui la notion même de documentaire, évoquant par exemple, l’idée de documentaire de création, création documentaire, film documentaire, documen
在让·鲁赫（Jean Rouch）的第一部电影《1947-1991》中，在多米尼克·杜博斯克（Dominique Dubosc）的镜头前，面对三位对话者，1鲁赫讲述了他作为电影制作人的开始以及他在非洲拍摄的第一部纪录片的未来。在一次旅行中，他在马里和尼日尔边境拍摄了一次河马狩猎。他注意描述这项技术，特别是捕捉鱼叉的准备，并捕捉狩猎仪式本身。回到巴黎后，这部20分钟的电影在人类博物馆放映，在莱维·施特劳斯、勒罗伊·古汉、格里奥和莱里斯面前。这一努力受到赞扬。在巴黎一家酒窖的新放映后，鲁赫发现自己间接接触了法国新闻总监，因此有了制作的可能性。后者去看电影，“交易完成了！但这部电影最初拍摄于16毫米，将被放大到35毫米，缩短到10分钟，鲁赫将不得不写一些简短的评论来解释图像中发生了什么。鲁赫告诉我们：“有一天，我们看到一个叫黑魔法师之地（1947年）的怪物。”在拍摄热潮中，导演增加了与电影无关的不同镜头——狮子、长颈鹿……”“果酱音乐”，特别是环法自行车赛电台记者读到的带有殖民主义色彩的评论。“这部电影奏效了，”鲁赫说，他立即澄清道：“我感到羞愧。”Dominique Dubosc的框架让我们看到的是图像的重新分配操作。为了做到这一点，鲁赫将专注于他的电影的最后一幕，剪辑声音，并对1947年拍摄的这些镜头进行现场评论。他在1991年完成了他的第一部电影。今年的Jean Rouch百年庆典是一个介绍纪录片问题的机会，Dominique Dubosc电影的这一绕道将使我们能够就围绕这一问题的持续辩论提出不同的观点。因此，让我们首先考虑一组来自“真实”记录的图像所采取的形式问题。纪录片——对于电影节、电影院或电视观众来说是一个复杂的领域——邀请我们非常谨慎地考虑任何分类和/或定义的尝试。用格里尔森的话来说，“纪录片的想法只需要以任何方式将我们这个时代的关注带到银幕上，激发想象力，并尽可能丰富地观察”（Marsolais 1997，49）。没别的了？在法国和国外，许多方法——无论是美学方法、理论方法、历史方法还是实用方法——在各种辩论中仍然对纪录片的概念提出质疑，例如，唤起了创作纪录片、纪录片创作、纪录片、作者纪录片等的概念。纪录片组织网络（Réseau des Organizations du Documentaire）进行的研究强调，术语的混淆——特别是与“报告文学”的混淆——并非无辜，综合了机构和专业方法，以应对不断变化的整体：“报告文学：根据新闻准则拍摄的一系列照片，纪录片：将知识元素组织成连贯的话语和纪录片创作：构建现实表现的艺术方法”（Réseau des Organizations du documentaire，2011，7）。这一综合很有趣，因为在空洞中，拍卖问题被揭示出来，弗朗索瓦·尼尼（François Niney）也已经对拍卖问题进行了透视：报告文学，由新闻话语组成，服从流动逻辑
{"title":"Editorial: documentary","authors":"E. Thomas","doi":"10.1080/14715880.2017.1382250","DOIUrl":"https://doi.org/10.1080/14715880.2017.1382250","url":null,"abstract":"Dans Jean Rouch, premier film: 1947–1991, devant la caméra de Dominique Dubosc et face à trois interlocuteurs,1 Rouch évoque ses débuts de cinéaste et le devenir de son premier film documentaire effectué en Afrique. Au cours d’un voyage il filme à la frontière du Mali et du Niger une chasse à l’hippopotame. Il prend soin de décrire la technique, en capturant notamment la préparation des harpons, et de saisir le rituel de la chasse elle-même. De retour à Paris, ce bout de film, d’une durée de 20 minutes, est projeté au Musée de l’Homme devant Lévi-Strauss, Leroi Gouhan, Griaule et Leiris. L’effort est salué. Après une nouvelle projection dans une cave parisienne, Rouch se retrouve indirectement mis en contact avec le directeur des Actualités françaises et, par conséquent, une possibilité de production. Ce dernier se déplace pour visionner le film et « l’affaire est faite! » Mais le film, initialement tourné en 16 mm, sera gonflé à 35 mm, réduit à 10 minutes et Rouch devra rédiger de courts commentaires explicitant ce qui se déroule à l’image. Nous dit Rouch: « Et un jour on voit un monstre qui s’appelle Au pays des Mages Noirs [1947] ». Aux rushs de tournages, le directeur a fait rajouter différents plans sans lien avec le film – des lions, des girafes... – « une musique à la confiture » et surtout un commentaire aux relents colonialistes lu par un radioreporter du Tour de France. Et ce film marche, indique Rouch qui précise aussitôt : « J’avais honte ». Ce que nous donne à voir le cadre de Dominique Dubosc est une opération de réappropriation des images. Pour ce faire, Rouch se focalisera sur la séquence finale de son film, coupera le son et commentera en direct ces images filmées en 1947. Il terminera ainsi sont premier film en 1991. La célébration, cette année, du centenaire de Jean Rouch est une occasion d’introduire la question documentaire et ce détour par le film de Dominique Dubosc va nous permettre de soulever différents points concernant les débats toujours actuels autour de celle-ci. Considérons ainsi dans un premier temps, la question de la forme que prend un ensemble d’images issues d’un enregistrement du « réel ». Le documentaire – qui se constitue en un champ complexe pour le public des festivals, des salles de cinéma ou de la télévision – nous invite à considérer avec la plus grande prudence toute tentative de catégorisation et/ou de définition. Dans la formulation de Grierson, « l’idée documentaire ne demande rien de plus que porter à l’écran, par n’importe quel moyen, les préoccupations de notre temps, en frappant l’imagination et avec une observation aussi riche que possible » (Marsolais 1997, 49). Rien de plus ? En France et à l’étranger, de nombreuses approches – qu’elles soient esthétiques, théoriques, historiques, pragmatiques – inscrites dans divers débats interrogent encore aujourd’hui la notion même de documentaire, évoquant par exemple, l’idée de documentaire de création, création documentaire, film documentaire, documen","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2017.1382250","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44528683","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 : 2018-07-03DOI: 10.1080/14715880.2017.1385324
L. Astourian
Abstract This article highlights the significance of Jean Rouch’s experimental ethnographic film Moi, un Noir (1958) in the genesis of the quintessential New Wave film, À bout de souffle (Jean-Luc Godard, 1960), taking seriously the idea expressed by several critics of the time that À bout de souffle was an ethnography of French youth. Following a close reading of Moi, un Noir and comparative readings of Moi, un Noir, À bout de souffle, and their French reception, the author briefly highlights Rouch’s influence on the other key film of the New Wave, Les 400 coups (François Truffaut, 1959). Rouch’s influence on the two emblematic films of the New Wave is particularly significant in light of his own turn, after years filming in France’s sub-Saharan African colonies, to making several films in metropolitan France. The central aim of this article is to elucidate the role of Rouch in the New Wave. An ancillary aim is to show that Moi, un Noir and À bout de souffle mark two key points in a striking shift in the cutting-edge French cinema of the late 1950s and 1960s: a growing inclination to survey metropolitan France as a suddenly exotic space, and to conceive of the French as viable ethnographic subjects.
摘要本文强调了让·鲁赫（Jean-Luc Godard，1960）的实验性民族志电影《Moi，un Noir》（1958）在典型的新浪潮电影《蛋奶酥》（让-吕克·戈达尔，1960）中的意义，并认真对待了当时几位评论家表达的观点，即《蛋奶露》是法国青年的民族志。在仔细阅读了《莫伊》、《黑葡萄酒》和《莫伊、黑葡萄酒》、《蛋奶酥》以及它们在法国的受欢迎程度之后，作者简要强调了鲁奇对新浪潮的另一部关键电影《Les 400 coups》的影响（François Truffaut，1959）。Rouch对新浪潮的两部象征性电影的影响尤其重要，因为他在法国撒哈拉以南非洲殖民地拍摄了多年后，转而在法国大都市拍摄了几部电影。本文的中心目的是阐明Rouch在新浪潮中的作用。一个辅助目的是表明，《Moi》、《un Noir》和《bout de souffle》标志着20世纪50年代末和60年代法国尖端电影发生惊人转变的两个关键点：人们越来越倾向于将法国大都市视为一个突然充满异国情调的空间，并将法国人视为可行的民族志主题。
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Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1306402
Anita Léandro
Résumé Pour réaliser ses documentaires, Chantal Akerman a traversé des frontières en filmant des personnes souffrantes, menacées, vulnérables. Cette errance permanente dans les territoires des autres lui a permis d’élaborer au fil des films une mémoire à soi. Nous suivrons dans le cadre de cet article une trajectoire allant de D’Est à No Home Movie, son dernier film, en passant par Sud, De l’autre côté et Là-bas, des œuvres où l’approche du réel, toujours au bord de la fiction, trace une fuite en avant lui permettant de mieux comprendre les liens perdus de son origine juive.
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