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.
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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.
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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":"16 1","pages":"272 - 272"},"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: 10.1080/14715880.2016.1238169
J. Dobson, P. Powrie
General Dobson, Julia. 2008. “Jacques Audiard: Contesting Filiations.” In Kate Ince (ed) Five Directors: Auteurism from Assayas to Ozon, edited by Kate Ince, 38–58. Manchester: Manchester University Press. Dobson, Julia. 2010. “Asserting Text, Context and Intertext: Jill Forbes and French Film Studies.” In Studies in French Cinema: UK Perspectives, 1985–2010, edited by Will Higbee and Sarah Leahy, 117–126. Bristol: Intellect Rouyer, Philippe and Yann Tobin. 2012. “Entretien avec Jacques Audiard: qu’est-ce que le discours amoureux aujourd’hui.” Positif 616: 9–14. Rouyer, Philippe and Claude Vassé. 2005. “Entretien avec Jacques Audiard: et si tuer quelqu’un au cinéma, c’était difficile?” Positif 529: 21–25. Tirard, Laurent and Thomas Baurez. 2006. “Jacques Audiard.” Leçons de cinéma 2. Paris: Nouveau monde éditions.
朱莉娅·多布森将军，2008年。“雅克·欧迪亚:竞争关系。”In Kate因斯(ed)导演:菲Auteurism from to Ozon)、编辑by尔•凯特Ince), 38—58人。= =地理= =根据美国人口普查局的数据，该县总面积为，其中土地和(1.)水。朱莉娅·多布森，2010年。“Intertext Asserting Text、背景和福布斯:Jill and French Film Studies)。”《法国电影研究:英国观点》(1985 - 2010)，威尔·希比和莎拉·莱希编辑，117 - 126页。布里斯托尔:知识分子鲁耶，菲利普和扬·托宾。《雅克·欧迪亚访谈:今天的爱情话语是什么》正616:9 - 14。鲁耶，菲利普和克劳德vasse, 2005。“采访雅克·欧迪亚:如果在电影院杀人很难呢?”正529:21 - 25。蒂拉德，劳伦特和托马斯·鲍雷斯，2006年。“Jacques Audiard)。”电影课程2。巴黎:Nouveau monde editions。
{"title":"Bibliography for Jacques Audiard","authors":"J. Dobson, P. Powrie","doi":"10.1080/14715880.2016.1238169","DOIUrl":"https://doi.org/10.1080/14715880.2016.1238169","url":null,"abstract":"General Dobson, Julia. 2008. “Jacques Audiard: Contesting Filiations.” In Kate Ince (ed) Five Directors: Auteurism from Assayas to Ozon, edited by Kate Ince, 38–58. Manchester: Manchester University Press. Dobson, Julia. 2010. “Asserting Text, Context and Intertext: Jill Forbes and French Film Studies.” In Studies in French Cinema: UK Perspectives, 1985–2010, edited by Will Higbee and Sarah Leahy, 117–126. Bristol: Intellect Rouyer, Philippe and Yann Tobin. 2012. “Entretien avec Jacques Audiard: qu’est-ce que le discours amoureux aujourd’hui.” Positif 616: 9–14. Rouyer, Philippe and Claude Vassé. 2005. “Entretien avec Jacques Audiard: et si tuer quelqu’un au cinéma, c’était difficile?” Positif 529: 21–25. Tirard, Laurent and Thomas Baurez. 2006. “Jacques Audiard.” Leçons de cinéma 2. Paris: Nouveau monde éditions.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"16 1","pages":"269 - 271"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1238169","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252965","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}
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