Pub Date : 2018-01-02DOI: 10.1080/14715880.2017.1415552
R. Moine
Abstract The deployment, reversal and reiteration of stereotypes constitute one of the major comic devices of the top three French box-office comedy ‘hits’ of recent years: Bienvenue chez les Ch’tis (2008), Intouchables (2011), Qu’est-ce qu’on a fait au Bon Dieu ? (2014). These comedies follow the same pattern: their contrasting protagonists, in terms of class, regional origin or ethnicity, manage to forget their prejudices and to become ‘friends’ in the classic tradition of a feel-good film. Although age-old, this scheme is rejuvenated by issues of ethnicity, in a contemporary French context characterised by the transformation of French society into a multicultural and multi-ethnic society, by the resistance to that transformation and by the emergence on the big screen of ethnic actors. This article examines how the use of stereotypes, in films that claim to promote alterity and diversity, turns out to be extremely ambiguous. It demonstrates how these narratives, whether they challenge or reiterate prejudiced notions of ethnic and regional identity, leave gender roles and class domination unquestioned. Finally, it casts light on elements that may challenge the reactionary aspects of the plot and characterisation, such as the performance of the actors and the opening up of mainstream French comedy to minorities.
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Pub Date : 2018-01-02DOI: 10.1080/14715880.2016.1215954
Jules Sandeau
AbstractCet article etudie les representations de genre et de sexualite vehiculees par la comedie Les Garcons et Guillaume, a table ! (Guillaume Gallienne, 2013). Apres avoir replace ce film dans son contexte de production, nous mettrons en lumiere la maniere dont il travaille les tensions ideologiques qui traversent alors la societe francaise, en portant une attention particuliere a l’usage qu’il fait de l’humour. Un examen de la reception dont il a fait l’objet sur internet nous permettra d’elaborer des hypotheses sur les raisons de son succes critique et public. Nous montrerons ainsi comment l’ambivalence de son discours sur la masculinite et la feminite d’un cote, et sur l’heterosexualite et l’homosexualite de l’autre, lui a permis de seduire a la fois un public progressiste et un public plus conservateur sur les questions de genre et de sexualite.
本文研究了喜剧《les Garcons et Guillaume, a table !》中的性别和性表现。(Guillaume Gallienne, 2013)。在将这部电影置于制作背景之后，我们将阐明他处理当时法国社会中意识形态紧张局势的方式，特别关注他对幽默的使用。看看它在互联网上的反响，我们就会对它在公众和批评性上的成功做出一些假设。向我们展示怎样的矛盾以及masculinite和咨文feminite l’heterosexualite之一的文号,并和对方,让她得以l’homosexualite seduire a既是进步的听众和观众最保守的性别和性问题。
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Pub Date : 2018-01-02DOI: 10.1080/14715880.2017.1415420
Mary Harrod, P. Powrie
Comedy, as is the case with many national cinemas, is one of the most dominant genres, if not the most dominant, in French cinema, as Raphaëlle Moine has shown (2014, 233–234). Comedies are even more popular now than they used to be in terms of spectator numbers. Since 2000, for example, French comedies have dominated the best-seller list in France, as can be seen in Table 1, which gives the 27 best-selling films since 2000.1 In the period 2000–2007 there were only 6 French comedies out of the 18 best-sellers in Table 1, representing a third (positions 11, 25, 26, 47, 57, 59), while from 2008–2014 6 out of 9 French films are comedies (positions 2, 3, 19, 51, 68, 96), representing two-thirds. This corresponds to a shift from a 39% share of the total number of French spectators in the first half of the period to an astonishing 72% of the best-selling films since 2008. And yet, surprisingly, while there are many coffee-table or popular books on the genre in French cinema, such as biographies of stars, there is as yet very little major academic work. General works on genre tend to focus on Hollywood comedies, occasionally with some nods to French comic stars, for example Olivier Mongin’s reflection on the genre which includes some work on Jacques Tati and Louis de Funès (Mongin 2002). There are few academic monographs on directors associated with the genre. There is a thesis on Pierre Colombier, active during the 1920s and 1930s, and director of major comic stars such as Georges Milton in Le Roi des resquilleurs (1930), Raimu in Ces messieurs de la Santé (1933) and Théodore et Cie (1933), and Fernandel in Ignace (1937) (Binet 2003), and a couple of standard introductions to the work of Jean-Pierre Mocky (Le Roy 2000; Prédal 1988). But there is as yet nothing substantial on Gérard Oury, JeanMarie Poiré or Francis Veber, directors of some of the most successful French comedies of the 1980s and beyond. The only two major works on French film comedy in recent times are both by Anglophone academics: Rémi Lanzoni’s broad introduction (2014) and Mary Harrod’s in-depth study of the recent development of the romcom (2015a). With the exception of some essential articles by Raphaëlle Moine, which we refer to in this introduction, there is as yet nothing major by French academics on contemporary developments. It is not difficult to understand why this is the case. Comedy, more than any other genre, is a ‘bad object’, a repository of low-denominator stereotypes and the source of the potentially guilty pleasure accruing from them that appears to be difficult to justify critically. This is particularly the case in France, where the critical establishment has until recently been more interested in auteur cinema than popular genres. As Moine has argued in her book on genre (2005, 66–85), whether one adopts the position of the Frankfurt School – that comedies like all genres function principally to maintain the status quo – or whether one adopts the position inspired
正如拉斐尔·莫因（Raphaëlle Moine）所展示的那样（2014年，233–234），喜剧与许多国家影院一样，是法国电影中最占主导地位的类型之一，如果不是最占主导的话。就观众数量而言，喜剧现在比过去更受欢迎。例如，自2000年以来，法国喜剧一直占据着法国畅销书排行榜的主导地位，如表1所示，表1列出了自2000年来最畅销的27部电影。1在2000-2007年期间，表1中的18部畅销书中只有6部法国喜剧，占三分之一（排名11、25、26、47、57、59），而从2008年到2014年，9部法国电影中有6部是喜剧（第2、3、19、51、68、96位），占三分之二。这相当于从上半年法国观众总数的39%转变为2008年以来最畅销电影的72%。然而，令人惊讶的是，尽管法国电影中有很多关于这一类型的咖啡桌或流行书籍，如明星传记，但迄今为止，主要的学术著作却很少。关于类型的一般作品往往侧重于好莱坞喜剧，偶尔也会向法国喜剧明星致敬，例如奥利维尔·蒙金对类型的反思，其中包括一些关于雅克·塔蒂和路易斯·德·方斯的作品（蒙金，2002年）。很少有与这一类型相关的关于导演的学术专著。有一篇关于皮埃尔·科隆比尔的论文，活跃于20世纪20年代和30年代，他是主要喜剧明星的导演，如乔治·米尔顿（Georges Milton）的《再创作之旅》（Le Roi des resquilleurs）（1930年）、雷穆（Raimu）的《圣特的救世主》（Ces messieurs de la Santé）（1933年）和《特奥多尔与西》（Théodore et Cie），以及费尔南德尔（Fernandel。但Gérard Oury、JeanMarie Poiré或Francis Veber这些20世纪80年代及以后最成功的法国喜剧的导演还没有什么实质性的东西。近年来，仅有的两部关于法国电影喜剧的主要作品都是英语学者的作品：雷米·兰佐尼的《广泛介绍》（2014）和玛丽·哈罗德对浪漫喜剧最近发展的深入研究（2015a）。除了我们在引言中提到的拉斐尔·莫因的一些重要文章外，法国学者还没有关于当代发展的重要文章。不难理解为什么会出现这种情况。喜剧比任何其他类型都更是一个“坏对象”，是低分母刻板印象的储存库，也是从中产生的潜在罪恶快乐的来源，而这种快乐似乎很难被批判性地证明。法国的情况尤其如此，直到最近，法国的评论界对导演电影比对流行电影更感兴趣。正如莫因在其关于类型的书（2005，66–85）中所说，无论是采用法兰克福学派的立场——喜剧与所有类型一样主要是为了维持现状——还是采用受莱维·斯特劳斯对神话的分析启发的立场——喜乐与其他类型一样，表达和调和社会和文化紧张关系的功能——这两种立场在外观上是对立的，都起到了中和异议的作用，允许不良对象在观众毫无疑问地接受可疑陈述时灌输萨特的恶意。正如莫因所说，人们可能会感到内疚的快乐，这源于喜剧“在没有社会危险的情况下控制文化”2（79）。
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Pub Date : 2018-01-02DOI: 10.1080/14715880.2016.1217611
Nikolaj Lübecker
Abstract For most viewers it came as a big surprise when Bruno Dumont ventured into TV comedy with the four-part series P’tit Quinquin (2014). This article examines why Dumont was attracted to comedy. Drawing on texts by Henri Bergson and Wolfgang Iser, the article first attempts to define the specificity of what shall be called Dumont’s comic look. Next, it analyses what it means to take a comic look at socio-political problems such as religious and racial conflicts. The article argues that Dumont refrains from trying to move beyond these problems, but also that P’tit Quinquin places the spectators in a non-tragic relation to the problems raised. The series therefore looks at the social world in a very different way than many of Dumont’s previous, more tragic feature films. Ultimately, this not only allows an auteurist reading of P’tit Quinquin (the series is gently laughing at Dumont’s earlier films), but also supports the more general point that comedy can be particularly well suited to negotiating contemporary social challenges.
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Pub Date : 2018-01-02DOI: 10.1080/14715880.2017.1367896
Thomas Pillard
Abstract Les années 2000 voient la sortie sur les écrans d’une série de comédies dont les récits interrogent l’usage et la circulation de l’argent au sein de l’économie des relations hétérosexuelles et des interactions sociales entre hommes et femmes, via des situations mêlant rapports de genre et rapports financiers. Cette tendance présente des contours flous et recouvre des représentations hétérogènes qui ne se destinent pas nécessairement aux mêmes publics : favorisant en début de décennie des vedettes et une orientation masculines, elle se trouve plus fréquemment investie ensuite par des femmes cinéastes accordant plus d’importance aux rôles féminins, en écho à l’intérêt de plus en plus marqué des réalisatrices pour le genre comique depuis les années 1990 et 2000. Associant les études génériques et les gender studies, cet article se propose d’évaluer la cohérence de ce corpus diversifié et d’analyser ses enjeux idéologiques, en faisant appel au concept d’« échange économico-sexuel » forgé par l’anthropologue féministe Paola Tabet.
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Pub Date : 2017-09-20DOI: 10.1080/14715880.2017.1362824
Emilija Talijan
Abstract This article offers a discussion of the role of noise in the work of Catherine Breillat, and evaluates its importance in relation to the pornographic. The author argues that by focusing attention on the auditory, we open up another sensory dimension through which to think about Breillat’s key relationship with the pornographic and her appeal to listening in spectatorship. Drawing on the conventions of sound in pornography and discussing how Romance (1999) and Anatomie de l'enfer/Anatomy of Hell (2004) respond to these sounds, the attention to Breillat’s sonic practice offered here shows how noise reflects on wider questions of the ‘real’ and representations of the female body and pleasure that are at stake in Breillat’s work more broadly. Attending to the noises of the body, noises emitted by Breillat’s female protagonists and to her soundscaping, this article asks what possible critique of the pornographic thinking about noise offers, as well as what forms of resonant intimacy are constructed through Breillat’s formal engagement with volumes and amplitudes.
本文讨论了噪音在凯瑟琳·布雷利亚特作品中的作用，并评价了噪音在色情作品中的重要性。作者认为，通过将注意力集中在听觉上，我们打开了另一个感官维度，通过这个维度来思考Breillat与色情的关键关系，以及她对观众倾听的吸引力。根据色情作品中声音的惯例，并讨论了Romance（1999）和Anatomie de l’enfer/Anatomy of Hell（2004）对这些声音的反应，这里对Breillat声音练习的关注表明，噪音如何反映出Breillat作品中更广泛的“真实”和女性身体与快乐的表征问题。考虑到身体的噪音、布莱拉笔下女主人公发出的噪音和她的音景，这篇文章询问了对关于噪音的色情思维的可能批判，以及通过布莱拉对音量和振幅的正式参与，构建了什么形式的共鸣亲密感。
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Pub Date : 2017-09-02DOI: 10.1080/14715880.2017.1371401
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Pub Date : 2017-08-30DOI: 10.1080/14715880.2017.1330914
T. Kline
Abstract When Bertrand Tavernier discussed his project to make a film adaptation of Madame de Lafayette’s novel La Princesse de Montpensier, he explained the contradictory nature of his project. On the one hand, he wanted to attempt a true account of both the events and the exotic nature of France in the 1550s, but on the other hand, he then added a potentially contradictory challenge to his project, proposing that his camera become ‘contemporary’ to the historical events and feelings depicted while at the same time convincing us that these historical events could be taking place in today’s Paris, and seem completely modern. This ‘chronological contradiction’ between what can be termed the exotic flavour of the Renaissance versus an injection of a flavour of contemporaneity – the endotic – will be examined in the way Tavernier develops the portrayal of the spirit of the Renaissance in language that is particularly resonant with the very terms that both Du Bellay and Ronsard employed to capture the epistemology of their times. This exotic level of the film will then be contrasted with the way Tavernier manages to give us an endotic representation of the Paris of the twenty-first century.
当贝特朗·塔维尼耶(Bertrand Tavernier)讨论他将拉法耶特夫人的小说《蒙彭西尔公主》(La Princesse de Montpensier)改编成电影的计划时，他解释了这个计划的矛盾性质。一方面，他想尝试真实地描述1550年代法国的事件和异国情调，但另一方面，他又给他的项目增加了一个潜在的矛盾挑战，他建议他的相机成为“当代”的历史事件和所描绘的情感，同时说服我们这些历史事件可能发生在今天的巴黎，看起来完全是现代的。这种“时间上的矛盾”，可以被称为文艺复兴的异国情调与注入当代的味道——内化的——之间的矛盾，将在塔维尼耶用语言描绘文艺复兴精神的方式中得到检验，这种语言与杜·贝雷和朗萨尔用来捕捉他们那个时代认识论的术语特别共鸣。然后，电影的这种异国情调将与塔维尼耶设法给我们二十一世纪巴黎的内化再现的方式形成对比。
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Pub Date : 2017-08-30DOI: 10.1080/14715880.2017.1314147
K. Pesch
Abstract In reading Claire Denis’s L’Intrus, the author enters into a dialogue with two recent publications that consider her cinema in light of contemporary discussions on ecology and economy: Laura McMahon’s work on the ‘ecological impulse’ at play in Denis’s films and Rosalind Galt’s analysis of the way in which Denis’s ‘default cinema’ resists contemporary neoliberal formations. The author examines the complex notions of indebtedness that shaped the film and its production. Moreover, she explores how the idea of nature in L’Intrus appears as a construct in which economic and ecological relationships of debt are mediated through imaginaries of place. Rather than proposing new ecological or economic imaginaries, she argues that L’Intrus is a significant ecological text precisely because it makes legible how debt-ridden imaginaries of nature intrude upon another and affect the experience of places and the policies that regulate them. Furthermore, L’Intrus’s complementary depiction of imaginaries of the South Sea islands and the Northern mountain forest suggests that the imagined relationship to a place that is unknown and far away is dependent upon an imagined relationship to the natural environment that is familiar and close by.
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Pub Date : 2017-07-25DOI: 10.1080/14715880.2017.1345187
I. McNeill
Abstract This article examines the use of music in Céline Sciamma’s Bande de filles (Girlhood, 2014), a film depicting the experiences of a black girl and her friends growing up in the Parisian banlieue. In addition to music written for the soundtrack, the film features diegetic performances by its characters of globally popular songs, the dance routine Internet hit ‘Wop’ by J. Dash, and ‘Diamonds’ as performed by Rihanna. These performances not only occupy key narrative roles but also situate the film in relation to a widely familiar and/or accessible pop cultural landscape that encompasses an online visual imaginary or ‘digitextuality’ constructed through YouTube, Vevo and Vine videos circulating, sharing and responding to the songs and their video performances. This article examines the significance of weaving such sounds and images into the film’s fictional world, aiming to understand the implications of this for questions of gender, sexuality and race raised by the film. Taken together with the film’s wider aesthetic and musical choices, its digitextuality serves both to implicate the spectator and to frustrate a fixed view or reading of the characters. The result is a queer film that exposes the rigid lines of straight, white culture whilst also working to disorient them.
本文探讨了csamline Sciamma的电影《少女时代》(Bande de filles, 2014)中音乐的运用，这部电影描述了一个黑人女孩和她的朋友在巴黎郊区长大的经历。除了为原声配乐外，影片还将由影片中的人物表演全球流行歌曲、J. Dash的网络热门舞曲《Wop》和蕾哈娜(Rihanna)的《Diamonds》。这些表演不仅占据了关键的叙事角色，而且还将电影置于一个广泛熟悉和/或可访问的流行文化景观中，其中包括通过YouTube, Vevo和Vine视频循环，分享和回应歌曲及其视频表演构建的在线视觉想象或“数字性”。本文探讨了将这些声音和图像编织到电影的虚构世界中的意义，旨在理解这对电影提出的性别、性和种族问题的影响。结合电影更广泛的美学和音乐选择，它的数字化既可以暗示观众，也可以挫败对角色的固定观点或解读。结果是一部酷儿电影，它暴露了异性恋、白人文化的刻板界限，同时也努力让他们迷失方向。
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