Pub Date : 2017-01-02DOI: 10.1080/14715880.2016.1266849
D. Winkler
Abstract A new Marseille cinema, focusing on the city’s everyday culture, emerged in the 1980s with directors such as René Allio and Robert Guédiguian. Even though some of their films received considerable recognition, an important part of the history of this cinematic representation has remained largely unaccounted for: the work of Paul Carpita (1922–2009). His films of the 1950s and 60s are strongly linked to the cultural history of the labour and peace movement. A former member of the Resistance, he created just after World War II Le Rendez-vous des quais/Meeting on the Docks (1953–55), a full-length film shot in the popular quarters of Marseille, thematising the dockers’ protest against the Indochina War. The film was censored before its release and only restored in the 1980s. This article situates the film within the regional and national French cinema of the post-war era, and analyses its hybrid aesthetics, comprising cinematic realism, militant cinema and amateur film. By referring to Carpita’s more intimate and reflexive short films, the article argues that his marginal status within French film history can be traced to the political and amateurish character of his films, but also to the fact that his artistic activity was located in Marseille, at the periphery of the national film scene and academia.
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Pub Date : 2017-01-02DOI: 10.1080/14715880.2016.1213586
David Pettersen
Abstract In this article, the author analyses Maurice Tourneur’s 1935 film Justin de Marseille as an example of the Gallic gangster film. Julien Duvivier’s Pépé le Moko (1937) has received more critical attention in this regard in part because of the general critical neglect of Tourneur’s work, but also because Justin de Marseille offers a curious juxtaposition of quasi-ethnographic images of everyday street life in Marseille and proto-film noir chase sequences involving darkened streets and violent criminals. Justin de Marseille is a useful case study because it explicitly negotiates between French and American models of urban criminality in the interwar period at the level of style and narrative. The author shows how Tourneur’s film satirises the French fascination with American and Gallic gangsters as a press phenomenon, namely the consequence of French journalists hungry for sensationalistic stories to sell newspapers. He interweaves a cultural history of the French fascination for gangsters with an analysis of how Tourneur contrasts the acquisitive and individualistic American-inspired gangster with a more properly Gallic one who values honour, artisanship, community and solidarity.
摘要本文以莫里斯·图诺伊尔1935年的电影《马赛》为例，分析了高卢黑帮电影的特点。Julien Duvivier的《PéPéle Moko》（1937）在这方面受到了更多的批评关注，部分原因是人们普遍忽视了Tourneur的作品，但也因为Justin de Marseille将马赛日常街头生活的准民族志图像与涉及黑暗街道和暴力罪犯的黑色电影追逐镜头奇怪地并置在一起。Justin de Marseille是一个有用的案例研究，因为它在风格和叙事层面明确地在法国和美国之间就两次世界大战期间的城市犯罪模式进行了协商。作者展示了Tourneur的电影如何讽刺法国人对美国和高卢黑帮的迷恋，将其视为一种新闻现象，即法国记者渴望耸人听闻的故事来出售报纸的后果。他将法国对黑帮的迷恋的文化史与Tourneur如何将这个贪婪和个人主义的美国黑帮与一个更恰当的重视荣誉、工艺、社区和团结的高卢黑帮进行对比的分析交织在一起。
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Pub Date : 2017-01-02DOI: 10.1080/14715880.2016.1241585
Eva Jørholt
ABSTRACT Inspired by Alain Robbe-Grillet’s novel La Jalousie (1957), the essay contends that Michael Haneke’s Caché (2005) takes its viewers inside a postcolonial white paranoia which is, arguably, the root cause of the exclusion, segregation and racist discrimination that many immigrants from the former colonies – and their children – are experiencing in contemporary France. It suggests that the entire film be read as the protagonist’s paranoid vision that imagines white privileges to be menaced by some non-white conspiracy. His obsession, which hinges on a fear of a reversal of the power inherent in ‘the gaze’, as brought out in the central ‘stalking plot’, informs the entire film’s narration and audiovisual make-up and explains, among other things, the serial repetitions and variations of certain settings and objects as the protagonist’s desperate attempt to create order in a threatening world. The construction of the film, however, also allows Haneke to critically comment upon his protagonist’s paranoia and demonstrate its ill-foundedness, for instance by pointing to a possible ‘banal conviviality’ (Paul Gilroy) between people of different ethnicities, cultures and religions.
{"title":"White paranoia: Michael Haneke’s Caché reflected through Alain Robbe-Grillet’s novel La Jalousie","authors":"Eva Jørholt","doi":"10.1080/14715880.2016.1241585","DOIUrl":"https://doi.org/10.1080/14715880.2016.1241585","url":null,"abstract":"ABSTRACT Inspired by Alain Robbe-Grillet’s novel La Jalousie (1957), the essay contends that Michael Haneke’s Caché (2005) takes its viewers inside a postcolonial white paranoia which is, arguably, the root cause of the exclusion, segregation and racist discrimination that many immigrants from the former colonies – and their children – are experiencing in contemporary France. It suggests that the entire film be read as the protagonist’s paranoid vision that imagines white privileges to be menaced by some non-white conspiracy. His obsession, which hinges on a fear of a reversal of the power inherent in ‘the gaze’, as brought out in the central ‘stalking plot’, informs the entire film’s narration and audiovisual make-up and explains, among other things, the serial repetitions and variations of certain settings and objects as the protagonist’s desperate attempt to create order in a threatening world. The construction of the film, however, also allows Haneke to critically comment upon his protagonist’s paranoia and demonstrate its ill-foundedness, for instance by pointing to a possible ‘banal conviviality’ (Paul Gilroy) between people of different ethnicities, cultures and religions.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1241585","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45135651","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 : 2017-01-02DOI: 10.1080/14715880.2016.1249208
Sébastien Fevry
Abstract The paper examines the wave of nostalgic cinema that reached its peak in France in the 2000s and that some critics have characterised as sepia cinema. The success of Les Choristes/The Chorus (Christophe Barratier, 2004) was followed by a number of films with an old-fashioned flavour such as Le Petit Nicolas/Little Nicholas (LaurentTirard, 2009) or La Nouvelle Guerre des boutons/War of the Buttons (Yann Samuell, 2011). The article aims to understand the memorial dynamics that the sepia wave has assumed in a French society more and more obsessed with its memory and the valorisation of its national past. The author argues that the sepia wave reveals an important change in the frameworks of collective memory. In the context of the repeated failures of the memorial politics enacted by Nicolas Sarkozy, the sepia films tend to mobilise a family memory that appears more efficient than State memory in the sharing of recollections linked to a collective past.
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Pub Date : 2017-01-02DOI: 10.1080/14715880.2016.1249196
Kaya Davies Hayon
Abstract Since the new millennium, films featuring Maghrebi(-French) characters have begun to address a broad range of topographies and a number of road movies have emerged that show their protagonists making journeys between France and the countries of the Maghreb. One such film is Exils, a transnational road movie that follows Zano (Romain Duris), the French son of pieds-noirs, and Naïma (Lubna Azabal), a young Algerian-French woman, on a spontaneous journey of (self-)discovery that begins in Paris and concludes in Algeria. Drawing upon Merleau-Ponty’s corporeal phenomenology and Sobchack’s work, this article argues that Exils uses its protagonists’ ‘return’ journeys to examine the lived and embodied experience of exile, as well as the politics of being displaced to a new space and time. It focuses on the two characters’ differing responses to their ‘homeland’ and argues that Zano is able to (re)connect with his roots through his body. Naïma, on the other hand, remains in a perpetual state of alienation until the penultimate sequence of the film, in which her engagement in a Sufi trance ritual enables her to feel embodied, emplaced and (re)connected with her country and culture of origin. Throughout the course of the narrative, Exils uses its central characters’ lived and embodied encounters with the people and culture of their country of origin to explore the material realities of exile and to mediate intercultural relations between France and Algeria.
{"title":"‘Je suis une étrangère de partout’: the material realities of exile in Tony Gatlif’s Exils (2004)","authors":"Kaya Davies Hayon","doi":"10.1080/14715880.2016.1249196","DOIUrl":"https://doi.org/10.1080/14715880.2016.1249196","url":null,"abstract":"Abstract Since the new millennium, films featuring Maghrebi(-French) characters have begun to address a broad range of topographies and a number of road movies have emerged that show their protagonists making journeys between France and the countries of the Maghreb. One such film is Exils, a transnational road movie that follows Zano (Romain Duris), the French son of pieds-noirs, and Naïma (Lubna Azabal), a young Algerian-French woman, on a spontaneous journey of (self-)discovery that begins in Paris and concludes in Algeria. Drawing upon Merleau-Ponty’s corporeal phenomenology and Sobchack’s work, this article argues that Exils uses its protagonists’ ‘return’ journeys to examine the lived and embodied experience of exile, as well as the politics of being displaced to a new space and time. It focuses on the two characters’ differing responses to their ‘homeland’ and argues that Zano is able to (re)connect with his roots through his body. Naïma, on the other hand, remains in a perpetual state of alienation until the penultimate sequence of the film, in which her engagement in a Sufi trance ritual enables her to feel embodied, emplaced and (re)connected with her country and culture of origin. Throughout the course of the narrative, Exils uses its central characters’ lived and embodied encounters with the people and culture of their country of origin to explore the material realities of exile and to mediate intercultural relations between France and Algeria.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1249196","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60253000","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 : 2016-09-01DOI: 10.1080/14715880.2016.1234175
Isabelle Vanderschelden
Abstract This article discusses the films of Jacques Audiard from the perspective of the screenwriting process. It evaluates his work as a screenwriter, and the ways in which the development process of his screenplays can inform his cinema and distinctive style. Audiard always writes with collaborators and views the filmmaking process as a team effort. Beyond establishing his own personal signature renewal of the European thriller through complex narratives, Audiard has developed a filmmaking method in which the so-called writing stage seems to extend far beyond pre-production, to influence the shooting, and finally shape the editing process completed in post-production.
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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1238172
R. Kitchen
Abstract Jacques Audiard’s films deal with disabling social exclusion. Protagonists are systematically discriminated against owing to their physical disabilities or social disabilities such as low socio-economic status, lack of education, and cultural/linguistic marginalisation. Sur mes lèvres (2001) and De rouille et d’os (2012) feature characters with both physical and social disabilities. The first film examines the relationship between an ambitious, deaf, real-estate company secretary and a former convict whom she employs as her assistant. The second follows the romance between a killer-whale trainer who loses her lower limbs when she is attacked by a killer whale, and a man from a low-income, low-education background who is passionate about boxing. The characters are focused on surviving in a society in which they are alienated, stigmatised, and where options are limited. Through a mutual recognition of shame and isolation, the characters develop an alliance that challenges, exploits, and finally rejects the social norming of received attitudes towards the disability of the other person. The article analyses how these representations of physical disabilities conform to contemporary theories of embodied disability and argues that Audiard’s cinema can be viewed through both a phenomenological and a cognitive lens.
雅克·欧迪亚(Jacques Audiard)的电影关注的是令人残疾的社会排斥。主角由于身体残疾或社会残疾(如低社会经济地位、缺乏教育和文化/语言边缘化)而受到系统性歧视。《les les》(2001年)和《De rouille et d’os》(2012年)的主角都有身体残疾和社交障碍。第一部电影讲述了一个雄心勃勃、耳聋的房地产公司秘书和她雇来做助手的前罪犯之间的关系。第二部讲述的是一名被虎鲸袭击后失去下肢的虎鲸训练师和一名来自低收入、低教育背景、热爱拳击的男子之间的爱情故事。这些角色关注的是如何在一个被疏远、被污名化、选择有限的社会中生存。通过对羞耻和孤立的相互认知，角色们建立了一个联盟，挑战、利用并最终拒绝了对另一个人的残疾所接受的社会规范。本文分析了这些身体残疾的表现如何符合当代的具身残疾理论，并认为可以从现象学和认知学两个角度来看待欧迪亚的电影。
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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1238171
J. Dobson
A is for Anti-hero. Audiard’s films demonstrate a sustained lack of interest in the moral or sentimental appeal of their central characters, but rather strive to ensure that we engage with and admi...
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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1224522
{"title":"Theses on French cinema 2015","authors":"","doi":"10.1080/14715880.2016.1224522","DOIUrl":"https://doi.org/10.1080/14715880.2016.1224522","url":null,"abstract":"","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1224522","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252711","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 : 2016-09-01DOI: 10.1080/14715880.2016.1238170
J. Dobson
Jacques Audiard is one of the best-known French filmmakers working today, his presence well established in film festival headlines, the mainstream film press and critics’ choice (including an appearance at number 85 with Un prophète/A Prophet [2009] in the recent BBC critics’ poll of the twenty-first century’s 100 greatest films [BBC 2016]).1 His national status as son of the seminal scriptwriter Michel Audiard has long been replaced by his own international profile as director, yet scholarly engagement with his hugely confident and engaging œuvre continues to lag behind his international commercial profile. The aims of this special issue are therefore twofold: to render existing engagement with his work more visible, and to bring together a set of diverse critical approaches in the hope of triggering further exploration of these films. Audiard’s credentials as exemplary twenty-first century auteur are seemingly uncontestable. Ciné-fils of France’s treasured screenwriter Michel Audiard and cinéphile who name-checks emphatically international influences, his films exhibit signature elements of mise en scène and recurring thematic obsessions, turn relatively unknown actors into bankable stars (Romain Duris, Tahar Rahim, Matthias Schoenaerts) and win an impressive array of international awards. The latter run to 54 wins and 56 nominations (source IMDB.com) including the Grand Jury prize at Cannes and wins in almost all major categories at the Césars for Un prophète in 2009. Although De rouille et d’os/Rust and Bone (2012) was, surprisingly, overlooked in the Grand Jury selection at Cannes, he went on to win the Palme d’or in 2015 with Dheepan. Further evidence of his broad cultural capital can be found in the recent inclusion of De battre mon cœur s’est arrêté/The Beat That My Heart Skipped (2005) on the French baccalauréat syllabus and the confirmation in interviews (and accompanying photo shoots) of his cultural branding (in reception at least) as dandy, hat-wearing, combination of contemporary European sensibility and classic American auteur – the ‘French Scorsese’ indeed (Aftab 2010). The reasons for the mismatch between commercial and media profile and academic attention are undoubtedly multiple; yet one of the primary contexts may be his lack of fit with perceived tendencies and models of contemporary French film-making. He does not fit easily into new canons or broader tendencies (such as ‘extreme cinema’, politically engaged realism or indeed popular cinema) and is not the identifiable product of a high-profile film school. Crucially, his age excluded him from being labelled as a member of the generation of filmmakers ‘le jeune cinéma’, delineated in critical work of the 1990s–2000s (see Hardwick 2008) that was important to the construction of models of French auteur film in that period (see Dobson 2012). The contribution to auteur status of Audiard’s extensive and continuing profile as screenwriter – he contributed to the writing of 20 film
雅克·欧迪亚是当今最著名的法国电影人之一，他的存在在电影节头条，主流电影媒体和评论家的选择(包括在最近的BBC评论家对21世纪100部最伟大电影的投票中以《预言家》/《先知》[2009]的第85名出现[BBC 2016])中得到了很好的确立作为影响深远的编剧米歇尔·欧迪亚之子，他在国内的地位早已被他自己作为导演的国际形象所取代，但他对œuvre的学术参与仍然落后于他的国际商业形象。因此，这期特刊的目的是双重的:一是让人们对他的作品有更多的了解，二是汇集一套不同的批评方法，希望能引发对这些电影的进一步探索。欧迪亚作为21世纪导演的典范似乎是无可争议的。他的电影展现了场景融合的标志性元素和反复出现的主题痴迷，把相对不知名的演员变成了票房明星(罗曼·杜里斯、塔哈尔·拉希姆、马蒂亚斯·舍纳茨)，并赢得了一系列令人印象深刻的国际奖项。后者赢得了54项大奖和56项提名(来源:imdb)，包括戛纳电影节评审团大奖，并在2009年联合国预防活动的几乎所有主要奖项中获奖。令人惊讶的是，尽管2012年的《锈与骨》在戛纳电影节的大陪审团评选中被忽视，但他还是凭借《潘迪潘》赢得了2015年的金棕榈奖。他广泛的文化资本的进一步证据可以在最近的法国学士学位考试中找到，De battre mon cœur s ' est arrêté/ the Beat That My Heart跳过(2005)，以及在采访(和随拍的照片)中确认他的文化品牌(至少在接受上)是时髦的，戴着帽子，结合了当代欧洲情感和经典美国导演-“法国斯科塞斯”(Aftab 2010)。商业和媒体形象与学术关注不匹配的原因无疑是多方面的;然而，主要的背景之一可能是他与当代法国电影制作的趋势和模式不相符。他不容易适应新的标准或更广泛的趋势(如“极端电影”，政治现实主义或流行电影)，也不是一个知名电影学校的可识别产品。至关重要的是，他的年龄使他无法被贴上“青年青年”一代电影人的标签，这是20世纪90年代至21世纪初评论界所描绘的(见Hardwick 2008)，这对那个时期法国导演电影模式的构建很重要(见Dobson 2012)。在伊莎贝尔·范德谢尔登对欧迪亚作为编剧身份的批判性考察中，他对导演地位的贡献——1974年至1994年间，他为20部电影的写作做出了贡献。她聚焦于这个被严重忽视的功能，揭示了奥迪亚在电影制作过程中贯穿拍摄和剪辑阶段的写作实践的发展。这种独特的、合作的天性，也许是矛盾的，是他作为导演的标志性风格的另一个元素。欧迪亚的œuvre的另一个特点——可能不符合这位导演的形象——是对现有文本(包括小说)的复杂改造。虽然他拒绝“重拍”这个词，但他经常选择在现有叙事的框架上进行创作
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