Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1385325
J. Berthe
Abstract Having worked in West Africa for over 60 years, Jean Rouch has long been a contentious figure in African film circles. Though his collaborative and participatory methods aimed to challenge the colonial and postcolonial status quo, they did so from within the very structures and systems of support that secured the French presence in West Africa. Taking the prickly relationship between Rouch and Senegalese filmmaker Ousmane Sembène as a starting point, this essay argues that, while understandable and instructive in many respects, the distance maintained between Rouch and post-independence African filmmakers has done a disservice to Rouch’s collaborators hailing from West Africa, effectively effacing them from both French and African film histories. Given that African cinema is in a moment of profound transformation, the author contends that the time is ripe to open up a new kind of dialogue between Rouch and his African contemporaries.
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Pub Date : 2018-07-03DOI: 10.1080/14715880.2017.1383745
J. Berthe
2017 marked the centenary of the birth of the French ethnographic filmmaker Jean Rouch. For many, the anniversary seemed an auspicious moment to revisit his expansive archive. In January, ambassadors, filmmakers, anthropologists and artists gathered at the Hôtel de Ville in Paris to announce an impressive programme of screenings and events – a yearlong celebration of the filmmaker’s singular vision, exuberant spirit and passion for cinema. Just as these centenary festivities began to unfold, Studies in French Cinema published a special issue on the French New Wave (2017). In the introduction, Douglas Morrey argued for the need to return to the New Wave by appealing, quite convincingly, to all that still ‘remains to be said’ about the films and figures associated with this era in French film history (109). This dossier aims to speak to and about both the interest piqued by the Rouch centenary events and the enduring resonance of French film culture of the 1950s and 1960s. Although Jacques Rivette referred to Rouch in 1968 as ‘le moteur de tout le cinéma français depuis dix ans’1(Aumont et al. 1968, 20), he continues to be positioned as a peripheral figure in most narratives about the New Wave, when and if he is mentioned at all. In many ways, the reticence around Rouch and his film work is understandable. A filmmaker, of course, Rouch was also an ethnographer employed by the Centre national de la recherche scientifique; since most of his research took place in West Africa (particularly in Niger), his films often focused on issues and individuals that felt distant to the concerns and day-to-day lives of those in metropolitan France. Furthermore, as experiments in what he came to call ‘shared anthropology’, even as early as the 1950s, Rouch’s film work illustrated a profound re-thinking of both anthropological and cinematic practice. Collaborating with his subjects and combining fiction and non-fiction techniques, Rouch developed an approach that blurred traditional distinctions between subject and observer, as well as those between documentary and fiction film. And though a handful of his films have circulated widely and received significant critical attention – Les Maîtres fous/Mad Masters (1955), Moi, un Noir/Me, A Black Man (1958), Chronique d’un été/Chronicle of a Summer (Jean Rouch and Edgar Morin, 1961) – his archive consists of over one hundred films, some still unfinished and others in various states of disrepair, shot over the course of a career that spanned six decades and several continents. Adding to this complexity is the fact that Rouch’s relationship to cinematic form was anything but faithful. Perhaps Jean-André Fieschi (1978) said it best when he wrote that the novelty of Rouch’s approach resided ‘surtout dans l’inconfort dont elle joue (et se joue), faisant flèche de tout bois, usant de techniques diverses, arpentant des espaces jusqu’à elle non-quadrillés, mêlant des procédés jusqu’à elle antinomiques, et ne se laissant enfermer
2017年是法国民族志电影制作人让·鲁什诞辰100周年。对许多人来说，周年纪念似乎是重温他庞大档案的好时机。今年1月，各国大使、电影人、人类学家和艺术家齐聚巴黎的Hôtel de Ville，宣布了一项令人印象深刻的放映和活动计划——为期一年的庆祝活动，颂扬电影人独特的视野、旺盛的精神和对电影的热情。就在这些百年庆典开始之际，《法国电影研究》出版了一期关于法国新浪潮的特刊(2017)。在导言中，道格拉斯·莫雷(Douglas Morrey)认为有必要回归新浪潮，他非常有说服力地呼吁，在法国电影史上，与这个时代有关的电影和人物仍然“有待说”(109)。本档案的目的是讲述和讨论Rouch百年纪念活动所激起的兴趣，以及20世纪50年代和60年代法国电影文化的持久共鸣。尽管Jacques Rivette在1968年称Rouch为“le moteur de tout le cinsamma franais depuis dix ans”(Aumont et al. 1968, 20)，但在大多数关于新浪潮的叙述中，当他被提及时，他仍然被定位为一个边缘人物。在很多方面，人们对鲁什和他的电影作品保持沉默是可以理解的。作为一名电影制作人，鲁什同时也是国家科学研究中心的一名民族志学家;由于他的大部分研究都是在西非(尤其是尼日尔)进行的，他的电影经常关注那些与法国大城市人们的担忧和日常生活格格不入的问题和个人。此外，作为他所谓的“共享人类学”的实验，早在20世纪50年代，Rouch的电影作品就说明了对人类学和电影实践的深刻反思。与他的拍摄对象合作，结合虚构和非虚构的技巧，Rouch发展了一种模糊了主题和观察者之间的传统区别，以及纪录片和虚构电影之间的区别的方法。尽管他的几部电影广为流传并获得了重要的评论关注——《疯狂的大师》(1955年)、《我，我，一个黑人》(1958年)、《一个夏天的纪事》(让·鲁什和埃德加·莫兰，1961年)——他的档案包括一百多部电影，有些尚未完成，还有一些处于不同的失修状态，这些电影是他在60年和几个大陆的职业生涯中拍摄的。更复杂的是，鲁奇与电影形式的关系一点也不忠实。也许让-安德烈·菲埃斯基(1978)说得最好，他写道，Rouch方法的新新性在于“surtout dans l ' incont don elle joue (et se joue)， faisant flche de tout bois, usant de techniques disvers, appentant des espaces jusque ' comillillacoundes, mêlant des procssamdassis jusque ' comillanomiques, et ne se laissant enfermer dans aucune donacemaise”2(255)。虽然他的专业道路的独特性和他的美学折衷主义使得他的电影作品具有高度的原创性，但至少可以说，这使得分析和总结具有挑战性。菲耶斯基对这位电影制作人实践的描述异常清晰;大多数学者、评论家和观众都在努力寻找足够宽泛的语言和标签，来深入了解鲁奇究竟试图通过电影形式做些什么。而这位电影制作人几乎没有澄清任何歧义。罗伯特·加德纳(Robert Gardner)曾邀请罗奇做客他的电视剧《放映室》(1980)，问他:“你认为自己是电影制作人还是人类学家，或者这有什么关系……?”对此，他回答说:“是的，(人类学家)认为我是一个电影制作人，(而且)什么时候。
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Pub Date : 2018-04-03DOI: 10.1080/14715880.2016.1274576
Barry Nevin
Abstract Gilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, an unfilmed screenplay written by Renoir during the making of Lange, this article argues that Renoir mobilises his signature techniques and proto-fascist iconography to reflexively criticise local attempts to implement socialist ideals in contemporary Paris.
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Pub Date : 2018-04-03DOI: 10.1080/14715880.2017.1310576
Kierran Argent Horner
Abstract This paper argues that, further to the established artistic influences on Le Bonheur, for example vibrant Impressionist tableaux such as Édouard Manet’s Le Déjeuner sur l’herbe (1863) and Pierre-Auguste Renoir’s La Grenouillère (1869), Pop Art shapes both the aesthetic and the content of the film. As in the films of her friend Jean-Luc Godard, the paper argues, discrete images from Varda’s New Wave film critique contemporaneous advertising, principally that which is aimed at and objectifies women, in similar ways to Pop Art images of the era. Certainly, Pop’s images abounded with semi-nude and nude women, some of whom were not ironically presented but offered as a continuation of advertising’s gallery of sexualised female bodies. Andreas Huyssen argues, however, that Pop as a critical medium was cultivated by European artists in the 1960s who were ‘trying to develop an art of social criticism’. The author draws similar links between Pop Art, advertising and the cinema, locating those moments at which they interweave in Le Bonheur to reflect the Pop Art form and message. He suggests that the appropriation of consumerist imagery in Varda’s film, as in Pop Art, is an ironic counterpoint used to critique society as perceived by the artist.
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Pub Date : 2018-02-23DOI: 10.1080/14715880.2018.1439351
P. Powrie
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Pub Date : 2018-02-09DOI: 10.1080/14715880.2017.1324097
Réjane Hamus-Vallée
Résumé Alors que les applications dédiées aux films en 360, aussi appelés film en réalité virtuelle se déploient, de nombreux documentaires et reportages se retrouvent dans des territoires très différents. Pourquoi le documentaire se retrouve aussi nettement dans cette technologie ? Quelles questions pose le dispositif au geste documentaire ? Dans un premier temps, cet article analyser les bases historiques et technologiques du « 360 » et de la « réalité virtuelle ». Puis il se penchera plus particulièrement sur deux applications, la NYT VR et Arte 360. Quelles formes pour le documentaire en 360 dans ces deux exemples ? En quoi le 360, avec ses contraintes spécifiques, questionne à nouveau, comme ce fut le cas de manière forte il y a quelques années pour le web-documentaire, les spécificités du documentaire en général ?
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Pub Date : 2018-02-08DOI: 10.1080/14715880.2017.1350802
Martine Guyot-Bender
Abstract Champ-contre-champ examines the writings of Jean-Louis Comolli, theorist and historian of political cinema, in parallel with the practices of grass-roots film documentary producer Slon/Iskra. As two of the main players of the 1960s cinéma militant, Comolli and Slon/Iskra stand as exceptions in the context of political cinema as they both have continuously and relentlessly worked for the survival of a certain ethics and form of cinema politic until today, 50 years later. The article compares Comolli’s assertions that ‘true political cinema’ has disappeared as filmmakers, including politically engaged ones, became more dependent on television for financing, with Slon/Iskra’s practices and the forms of the films it supports. The article gives overdue visibility to Comolli’s theories as well as to the resilience of Slon/Iskra in resisting the pressures of mainstream cinema.
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Pub Date : 2018-02-06DOI: 10.1080/14715880.2017.1334178
Michael Stewart
Abstract This article examines Le Père de mes enfants (Mia Hansen-Løve, 2009) as a family melodrama and as an example of the cinema of precarity. The article defines both of these terms and applies them to Le Père de mes enfants, arguing that the film effectively combines pathetic melodrama with the cinema of precarity. More specifically, it is argued that Le Père de mes enfants constitutes situation and impasse as they are defined by scholars of film melodrama and the cinema of precarity. Impasse is given particular substance by Le Père de mes enfants’ central figure, Grégoire; and via Grégoire as a maximised type, it is argued that Le Père de mes enfants vividly combines melodrama, impasse and charisma. Charisma is defined, and it is argued that this term can be linked to established accounts of film melodrama, as well as to the expectations made of precarious subjects. As well as Grégoire, the article considers Le Père de mes enfants’ distinctive form, and its later focus on Sylvia. In all these respects, it is argued that Le Père de mes enfants constitutes a distinctive form of impasse and the cinema of precarity, as well as an emergent form of family melodrama.
摘要本文将《儿童的Père de mes》（Mia Hansen-Løve，2009）作为一部家庭情节剧和不稳定电影的一个例子进行了研究。这篇文章定义了这两个术语，并将其应用于儿童，认为这部电影有效地将可悲的情节剧与不稳定的电影结合在一起。更具体地说，有人认为，正如电影情节剧和不稳定电影学者所定义的那样，儿童构成了情境和僵局。Le Père de mes儿童的中心人物Grégoire赋予了Impasse特殊的实质内容；通过Grégoire作为一种最大化的类型，有人认为Le Père de mes enfants生动地结合了情节剧、僵局和魅力。魅力是有定义的，有人认为这个词可以与电影情节剧的既定描述联系起来，也可以与对不稳定主题的期望联系起来。除了Grégoire，文章还考虑了Le Père de mes儿童的独特形式，以及后来对Sylvia的关注。在所有这些方面，有人认为，《儿童》构成了一种独特的僵局和不稳定的电影形式，也是一种新兴的家庭情节剧形式。
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Pub Date : 2018-01-22DOI: 10.1080/14715880.2017.1332808
Colin Burnett
Abstract Late in his career, filmmaker and theorist Roger Leenhardt (1903–1985) published two enigmatic statements that suggest that he was increasingly sceptical of the idea, which he himself had defended in the 1930s, that film’s realist potential depended on the medium’s photochemical capacity to create faithful imprints of reality. In previously unexamined passages from his essay ‘Cinéma et les arts plastiques’ (1964) and his interview-based memoir Les Yeux ouverts (1979), he argued that animated shorts, along with the film sur l’art, were opening onto new vistas of exploration in realist aesthetics. This article addresses the conditions that led to, and the implications of, this seemingly paradoxical ‘lost development’ in French realist thought. By situating Leenhardt’s late theory in its proper context, namely his brief collaboration with painter Robert Lapoujade on the abstract animation Trois portraits d’un oiseau qui n’existe pas (Robert Lapoujade, 1963), we not only uncover the theory’s social and conceptual roots, but discover a fresh approach to a paradox that continues to grip film theorists: whether cinema can continue to be a means for making discoveries about reality in an age where new media grants filmmakers the power to manipulate every aspect of the image.
摘要在他的职业生涯后期，电影制作人和理论家罗杰·利恩哈特（1903-1985）发表了两篇神秘的声明，表明他越来越怀疑自己在20世纪30年代为之辩护的观点，即电影的现实主义潜力取决于媒介创造真实印记的光化学能力。在他的文章《Cinéma et les arts plasticques》（1964年）和他以采访为基础的回忆录《les Yeux ouverts》（1979年）中，他认为动画短片和电影《艺术》正在开启现实主义美学探索的新视野。这篇文章论述了导致法国现实主义思想中这种看似矛盾的“迷失发展”的条件及其含义。通过将Leenhardt的晚期理论置于恰当的语境中，即他与画家Robert Lapoujade在抽象动画《Trois portraits d'un oisau qui n'existe pas》（Robert Lapouyead，1963）中的短暂合作，我们不仅揭示了该理论的社会和概念根源，但要发现一种新的方法来解决一个仍然困扰着电影理论家的悖论：在新媒体赋予电影制作人操纵图像各个方面的权力的时代，电影是否可以继续成为发现现实的一种手段。
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Pub Date : 2018-01-02DOI: 10.1080/14715880.2016.1264752
M. Rosello
AbstractCet article suggere que depuis le debut du vingt-et-unieme siecle, un nouveau genre a fait son apparition en France : la comedie communautaire. A l’ecoute des analyses politiques et esthetiques qui ont accueilli des films comme Intouchables (Eric Toledano and Oliver Nakache, 2011), Qu’est-ce qu’on a fait au Bon Dieu ? (Philippe de Chauveron, 2014) ou Bienvenue chez les Ch’tis (Dany Boon, 2008) cette etude se demande dans quelle mesure les comedies communautaires contribuent a l’ecriture et la recriture des discours sur le national. Dans une premiere partie, l’article examine le rapport entre le genre de la comedie communautaire et la notion controversee de “communautarisme” en France. La deuxieme partie se penche sur Rue Mandar (Idit Cebula, 2013), une comedie qui nous fait sourire d’une famille juive dont les membres ont une connaissance rudimentaire des rituels religieux. Le film nous invite a reflechir a la facon dont les comedies communautaires imaginent et creent un public initie ou ignorant....
本文认为，自21世纪初以来，法国出现了一种新的类型:社区喜剧。听了对《不可触碰》(Eric Toledano and Oliver Nakache, 2011)等电影的政治和美学分析，我们对上帝做了什么?(Philippe de Chauveron, 2014)或Bienvenue chez les ch ' tis (Dany Boon, 2008)这项研究询问了社区喜剧在多大程度上有助于国家演讲的写作和重写。在第一部分中，本文考察了社区喜剧类型与法国有争议的“社区主义”概念之间的关系。第二部分是关于Rue Mandar (Idit Cebula, 2013)，这是一部喜剧，讲述了一个犹太家庭的微笑，他们的成员对宗教仪式有基本的了解。这部电影邀请我们反思社区喜剧是如何想象和创造一个知情或无知的观众的。
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