Pub Date : 2017-05-04DOI: 10.1080/14715880.2017.1315525
M. Grosoli
Abstract This paper analyses Claude Chabrol’s 1975 Une partie de plaisir, and aims to show that many of its features seem to implicitly belie the premises tacitly underlying the Nouvelle Vague movement, thereby ideally marking its end. It does so by particularly focusing on the peculiar circumstances behind the production of that film (starring Paul Gégauff, who also wrote the script, in a largely autobiographical role along with his real-life former wife), as well as on the elements that Chabrol borrowed from the films of his masters, Alfred Hitchcock and Fritz Lang. Ultimately, the author argues that Philippe, the hero of this film, overtly enacts the male chauvinism that covertly informs a significant part of the Nouvelle Vague, and overcomes it by destroying himself. His unsuccessful pursuit of the bourgeois patriarchal dream of a perfect balance between marriage and adultery can be regarded as matching the Nouvelle Vague’s short-lived utopia of reproducing Hollywood’s balance between the rule and its exception, namely between the law and its transgression (this is what ultimately the ‘politique des auteurs’ was about), by staying faithful to Hollywood’s classicism while recurring to fully modern cinematic means.
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Pub Date : 2017-05-04DOI: 10.1080/14715880.2017.1306310
Douglas Morrey
The Nouvelle Vague again? As scholars in the field will know, there is probably no era of French cinema, and no set of filmmakers, that have been studied as extensively as the New Wave, probably not even the Golden Age of the 1930s. Academic publishing continues to produce new books on these figures at an alarming rate. In the last five years alone, there has been a major new work on the New Wave as a cinematic phenomenon (Tweedie 2013) and a raft of significant new books on Truffaut (Andrew and Gillain 2013; Gouslan 2016; Solecki 2015), Godard (Conley and Kline 2014; Morgan 2013; Williams 2016; Witt 2013), Rohmer (Anderst 2014; de Baecque and Herpe 2014; Handyside 2013; Leigh 2012) and Varda (Bénézet 2014; Conway 2015; Neroni 2016). In addition, several directors associated with the New Wave have had beautifully produced collectors’ edition box sets of DVDs/Blu-ray Discs of their complete or partial filmographies released: Godard Politique (Gaumont, 2012), Tout(e) Varda (ARTE, 2012), Éric Rohmer Intégrale (Potemkine, 2013) and Planète Chris Marker (ARTE, 2013). And this is not to mention more peripheral figures like the composer Michel Legrand, a complete set of whose work with Jacques Demy was released on CD by Universal in 2013. There are two evident conclusions to be drawn from this proliferation of material: first, that the New Wave proper, of the late 1950s and early 1960s, continues to be a rich seam to mine for scholarship and critical appreciation; and second, that the long, prolific and innovative careers of many of the directors associated with the movement have effectively continued to shape the forms, the agenda and the international reception of French cinema in the half-century since the Nouvelle Vague. It is these presumptions that justify the current special issue. Those of us who teach the French New Wave, however, should not be surprised by this cottage industry of academic and audiovisual production that has grown up around the movement, since, year on year, experience confirms that the films of the early sixties continue to appeal to young people discovering for the first time a more broadly defined cinema, even as films from more recent decades (the 1980s and 1990s) are beginning to look dated. Is this because the New Wave is itself a movement associated with youth and that the preoccupations of young people (sex, alcohol, music, generational conflicts, competing intellectual and consumerist impulses, unformed but urgent revolt) remain more or less unchanged? Is it because the students’ excited discovery of the unsuspected formal possibilities of cinema resonates with a sense of the filmmakers’ own undisguised glee on discovering this for themselves? Or is it (since the marriage of form and content is the most basic lesson of New Wave theory) a combination of the two, a burgeoning sense that no other historical conjuncture in cinema has ever produced such a perfect combination of social renewal and stylistic ferment? It is p
又是新的流浪者？正如该领域的学者所知，可能没有一个法国电影时代，也没有一批电影制作人像新浪潮那样被广泛研究，甚至可能没有20世纪30年代的黄金时代。学术出版界继续以惊人的速度出版关于这些数字的新书。仅在过去五年中，就有一部关于新浪潮作为一种电影现象的重要新作（Tweedie 2013），以及一系列关于特吕弗的重要新书（Andrew and Gillain 2013；Gousslan 2016；Solecki 2015）、Godard（Conley and Kline 2014；Morgan 2013；Williams 2016；Witt 2013），Rohmer（Anderst 2014；de Baecque和Herpe 2014；Handyside 2013；Leigh 2012）和Varda（Bénézet 2014；Conway 2015；Neroni 2016）。此外，与新浪潮有关联的几位导演已经发行了精美的收藏版DVD/蓝光光盘套装，包括他们的完整或部分电影：Godard Politique（Gaumont，2012）、Tout（e）Varda（ARTE，2012），Éric Rohmer Intégrale（Potemkine，2013）和Planète Chris Marker（ARTE）。更不用说像作曲家米歇尔·勒格朗这样的边缘人物了，他与雅克·德米的全套作品于2013年由环球发行CD。从这种材料的激增中可以得出两个明显的结论：首先，20世纪50年代末和60年代初的新浪潮本身仍然是学术界和评论界的一个丰富的宝库；其次，自《新流浪》以来的半个世纪里，许多与这场运动有关的导演漫长、多产和创新的职业生涯有效地继续塑造着法国电影的形式、议程和国际接受度。正是这些假设为目前的特别问题提供了理由。然而，我们这些教授法国新浪潮的人不应该对围绕这场运动发展起来的学术和视听制作的家庭手工业感到惊讶，因为年复一年，经验证实，60年代初的电影仍然吸引着年轻人，他们第一次发现了一个更广泛的电影院，尽管最近几十年（20世纪80年代和90年代）的电影开始显得过时。这是因为新浪潮本身就是一场与年轻人有关的运动，年轻人的关注点（性、酒精、音乐、代际冲突、相互竞争的智力和消费主义冲动、尚未成形但紧迫的反抗）或多或少保持不变吗？这是因为学生们对电影形式可能性的兴奋发现与电影制作人自己发现这一点时毫不掩饰的喜悦感产生了共鸣吗？还是（因为形式和内容的结合是新浪潮理论最基本的一课）两者的结合，一种新兴的感觉，即电影中没有其他历史结合体产生过如此完美的社会更新和风格发酵的结合？当然，正是这种结合，再加上许多相关二级文献的图书馆书架，使《新浪潮》成为本科生理想的研究对象。年复一年，学生们能够就“法国新浪潮中的性别”等老掉牙的话题发表一流的论文，我对此仍然感到惊讶。然而，从年复一年地观看和讨论这些电影中，我自己的感觉是，对于其中的大多数电影，还有多少话要说。除了少数经典作品之外——《四分之一的政变》/《400次打击》（Truffaut，1959年）、《蛋奶酥/无息》（Godard，1960年）、5à7/5至7的Cléo
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Pub Date : 2017-04-18DOI: 10.1080/14715880.2017.1309626
Daniel Fairfax
Abstract This article explores the practice and theory of two aspects of film form in the work of Jacques Rivette in the late 1960s and early 1970s: montage and filmic space. Under examination will be the two films he made during this period, L’Amour fou and Out 1, as well as two round tables for Cahiers du cinéma in 1969, in which Rivette was a participant, on montage and filmic space respectively (the latter was only published for the first time in 2016). The article will argue that Rivette is one of the major figures to have both theorised these issues in the cinema, and to have tested them in practice in his own filmmaking.
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Pub Date : 2017-02-28DOI: 10.1080/14715880.2017.1289708
Douglas Smith
Abstract This article explores the relationship between widescreen and the New Wave. The new CinemaScope format arrived in France as the Cahiers du cinéma critics were elaborating the theoretical basis of what would become New Wave filmmaking. Many of the Cahiers critics (Bazin, Truffaut, Rohmer, Rivette) identified widescreen with the cinema of the future, suggesting that the New Wave would be widescreen. In fact, CinemaScope proved to be a relatively short-lived format and few New Wave directors employed it. In technological terms, the New Wave is much more closely identified with the lightweight equipment of location shooting. Nonetheless, the debates around the introduction of widescreen and the subsequent use of the scope format by Truffaut and Godard illuminate some of the crucial tensions within the New Wave and the culture of film criticism and cinephilia from which it developed. The arguments advanced in favour of widescreen in the mid 1950s were often contradictory and at cross-purposes, as were the filmmaking practices of Truffaut and Godard. Ultimately, the New Wave turned out not to be widescreen but the format nonetheless operated as a space offering a provisional resolution for some of the movement’s key contradictions.
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Pub Date : 2017-02-20DOI: 10.1080/14715880.2017.1288498
Nicholas Ealy
Abstract This article on François Ozon’s Sous le sable (2000) examines how the disappearance of the main character’s husband results in her fascination with his image (a ghostly returning figure) fixating her in a zone between loss and acceptance. Using this figure of the image, residing in a liminal zone between existence and non-existence, the author illustrates the ways in which it upsets traditional binary notions of time (past/present), reality (truth/fiction) and memory (remembrance/forgetfulness). To help in this endeavour, the author employs three distinct albeit interconnected theoretical discourses: (1) trauma as temporal liminality where past and present come together; (2) narcissism as the liminality of an image’s realistic and fictitious natures; and (3) melancholy as that liminal space between a memory’s retention and loss.
摘要这篇关于弗朗索瓦·奥松（François Ozon）的《灵魂》（Sous le sable）（2000年）的文章探讨了主人公丈夫的失踪如何导致她对他的形象（一个幽灵般的回归人物）着迷，将她固定在失去和接受之间。作者利用这个位于存在与不存在之间的边缘地带的形象，说明了它如何颠覆传统的时间（过去/现在）、现实（真相/小说）和记忆（记忆/遗忘）的二元观念。为了帮助这一努力，作者采用了三种不同但相互关联的理论话语：（1）创伤是过去和现在结合在一起的时间界限；（2） 自恋是形象的现实性和虚构性的极限；（3）忧郁是记忆保留和丧失之间的界限。
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Pub Date : 2017-02-14DOI: 10.1080/14715880.2017.1281037
Tom Cuthbertson
Abstract This article offers a close reading of Vincent Dieutre’s 2012 production Jaurès. It presents the film as the continuation of a sustained autobiographical filmmaking practice in which individual experience provides the perspective from which to consider experience more generally. The article examines the way in which Dieutre presents what we see on screen in Jaurès as an archival inventory of the ephemeral rhythms of the past. The article moves on to question what happens when this inventory becomes avowedly fictive, identifying in Dieutre’s filmmaking an impulse that moves from a forensic gesture of temporal retrieval to one of fictionalised reinterpretation and restaging. Dieutre asks the spectator to participate in a mode of remembrance that treads the line between fiction and reality as a means of giving a more malleable and reflective account of experience. This article shows how Dieutre constructs a filmic poetics based on showing and hiding that allows him to explore the mechanisms of social definition that shape and control both public and private identities.
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Pub Date : 2017-02-14DOI: 10.1080/14715880.2016.1270546
Tim Palmer
Abstract This essay studies the long-overlooked French New Wave filmmaker Paule Delsol, focusing on her debut feature, La Dérive (Drift, 1962–1964). Using archival primary documents, the essay first examines her artistic emergence, her independent mode of production, her interactions with François Truffaut and her outlier status within the New Wave. Second, the essay examines the feminist design of La Dérive, its stylistic and temporal agitations, its considerations of female-centred domestic binds in 1960s France, versus better-known New Wave texts. Third, the essay contrasts La Dérive’s polarised reception, especially its censorship and distribution problems, with Delsol’s enfranchised status at Cahiers du cinéma, emphasising her many published contributions to the New Wave’s agenda.
摘要本文研究了长期被忽视的法国新浪潮电影导演波勒·德尔索尔，重点关注她的处女作《忧郁的人》(漂流，1962-1964)。本文利用档案资料，首先考察了她的艺术出现，她的独立生产模式，她与弗朗索瓦·特吕弗的互动以及她在新浪潮中的异常地位。其次，本文考察了《忧郁》的女性主义设计，它的风格和时间上的骚动，它对20世纪60年代法国以女性为中心的家庭束缚的考虑，以及更知名的新浪潮文本。第三，这篇文章对比了La ddacrive的两极分化的接受，特别是它的审查和发行问题，与Delsol在Cahiers du cinacimma的权利地位，强调了她对新浪潮议程的许多发表的贡献。
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Pub Date : 2017-01-31DOI: 10.1080/14715880.2016.1274938
M. Sharpe
Abstract This article analyses images of domestic space in two New Wave films: Jacques Rozier’s Adieu Philippine (1963) and Robert Enrico’s La Belle Vie (1964). In existing scholarship on the period, critics often define French cinema made during the country’s experience of the Algerian War (1954–1962) in apolitical terms, as a corpus of films stifled by the rise of an insidious censorial regime led by the state. The first part of this article will expand upon this hypothesis by examining the atmosphere of domestic depoliticisation that characterises Rozier’s highly censored film. The second part of this article will then examine how La Belle Vie begins with a desire to flaunt the authority of the censors, before somewhat puzzlingly retreating into the same landscape of apolitical privatisation that defines both Adieu Philippine and popular discourses of the era (for example, women’s magazines). Finally, the author will identify these privatised and politically neutral images of domesticity as one of the reasons that the violent reality of the conflict was initially ‘screened’ from the public imaginary, leading to a war that remained – at least until the wave of highly political films that emerged in the early 1970s – misunderstood, taboo and largely invisible.
摘要本文分析了两部新浪潮电影中的家庭空间意象：雅克·罗齐尔（Jacques Rozier）的《菲律宾的阿迪乌》（Adieu Philippine）（1963年）和罗伯特·恩里科（Robert Enrico）的《美好生活》（La Belle Vie）（1964年）。在现有的关于这一时期的学术研究中，评论家们经常用非政治的术语将法国在阿尔及利亚战争（1954年至1962年）期间拍摄的电影定义为被国家领导的阴险审查制度的兴起所扼杀的电影集。本文的第一部分将通过考察国内非政治化的氛围来扩展这一假设，这是罗齐尔备受审查的电影的特点。然后，本文的第二部分将探讨《美好生活》是如何从炫耀审查机构权威的愿望开始的，然后又有点令人困惑地退回到非政治私有化的场景中，这一场景定义了菲律宾的Adieu和那个时代的流行话语（例如，女性杂志）。最后，作者将指出，这些私有化和政治中立的家庭生活形象是冲突的暴力现实最初从公众想象中“屏蔽”出来的原因之一，导致了一场战争——至少在20世纪70年代初出现的高度政治化的电影浪潮之前——一直被误解、禁忌和基本上看不见。
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Pub Date : 2017-01-31DOI: 10.1080/14715880.2016.1262119
A. Jones
ABSTRACT Jean-Luc Godard’s Alphaville: une étrange aventure de Lemmy Caution (1965) constitutes a strikingly brilliant mise en scène of strife between humans and logic. Led by a supercomputer and its scientist-creator, this technocratic city annihilates emotive human creativity. I argue that this dystopian science fiction film is philosophy, precisely because it engages a problem that philosophers also address, namely humanity’s relationship to art and logic. I present this film as an example in defense of the ‘bold thesis’ for film as philosophy developed by Paisley Livingston (2006). Though Livingston argues against this thesis, Aaron Smuts (2009) provides a valiant defense, to which Livingston (2009) responds, stating that only a more relevant example is missing. Supplying this example is the precise intention of this article. To do so, I begin with a discussion of Nietzsche’s The Birth of Tragedy ([1872] 1967), to provide a legitimate philosophical background from which to show how Alphaville not only serves as a thought experiment of prior established philosophy, but also builds upon those ideas to create its own philosophical contribution.
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Pub Date : 2017-01-02DOI: 10.1080/14715880.2016.1237202
Jennifer Wallace
Abstract Cléo de 5 à 7 (1962) and L’Une chante, l’autre pas (1976) are two films by Agnès Varda that explore the figure of the chanteuse. In the first film, Cléo is a ‘modern’ chanteuse de variétés of the early 1960s, with her character containing echoes of both Sylvie Vartan and Edith Piaf. Yet, during the film, she sheds her mainstream singer image that is associated with narcissism and manipulation, and transforms her outlook by leaving her career behind. The second film follows Pomme, a young woman who also starts out in popular music in the 1960s, but later finds her calling as a chanteuse engagée for the Women’s Movement of the 1970s. Pomme’s empowerment is directly linked to her engagement with folk-influenced, protest music, which grows stronger as time moves on. This essay reveals Varda’s input into contemporary debates surrounding the female singer in the 1960s and 1970s, and it identifies overlooked aspects of the canonical New Wave film Cléo de 5 à 7, in comparing it to the lesser analysed L’Une chante, l’autre pas. Through close textual analysis of musical styles, lyrics and performance, this paper examines two different portraits of the French female singer in film.
摘要《Cléo de 5à7》（1962年）和《L'Une chante，L'autre pas》（1976年）是阿格尼斯·瓦尔达的两部探索女歌手形象的电影。在第一部电影中，Cléo是20世纪60年代初的“现代”女歌手，她的角色与Sylvie Vartan和Edith Piaf都有相似之处。然而，在这部电影中，她摆脱了与自恋和操纵有关的主流歌手形象，并通过放弃自己的职业生涯来改变自己的观点。第二部电影讲述了波姆的故事，她是一位年轻女性，在20世纪60年代也开始从事流行音乐，但后来发现自己是20世纪70年代妇女运动的女歌手。波姆的赋权与她参与受民间影响的抗议音乐直接相关，随着时间的推移，抗议音乐变得越来越强烈。这篇文章揭示了瓦尔达在20世纪60年代和70年代对围绕这位女歌手的当代辩论的投入，并将其与分析较少的《联合国教科文组织圣歌》进行比较，《秋天》。通过对音乐风格、歌词和表演的文本分析，本文考察了电影中法国女歌手的两种不同画像。
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