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100 greatest films [BBC 2016]).1 His national status as son of the seminal scriptwriter Michel Audiard has long been replaced by his own international profile as director, yet scholarly engagement with his hugely confident and engaging œuvre continues to lag behind his international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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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1220196
Douglas Morrey
Abstract As is well known, Jacques Audiard’s De battre mon cœur s’est arrêté (2005) is a remake of Fingers (1978), directed by James Toback. Bucking the usual trend of remakes, De battre is popularly regarded as a more successful film than Fingers. The French film helped propel the careers of Audiard and stars Romain Duris and Niels Arestrup, whereas the careers of Toback and Harvey Keitel stalled in the wake of Fingers. The French remake is also seen as more aesthetically successful in its narrative structure and characterisation. Where Fingers – in some ways typical of the New Hollywood cinema – revolves around the hysterically improbable masculine crisis of Jimmy Angeleli, incarnated in Keitel’s hyperactive performance, Duris’s more nuanced acting creates a more plausible and likeable character in Thomas Seyr. Ironically, the usual complaint about film remakes – that the ‘copy’ tends to smooth out the rough edges of the ‘original’, resolving ambiguities in a neat narrative arc – is arguably as true as ever in this pair of films where the standard national identifications are reversed (the French film is a polished remake of the problematic American model). This article compares the two films through a close reading of the performance styles of Keitel and Duris and an analysis of the protagonists’ respective character trajectories. In the process, it asks questions about Audiard’s debt to American cinema and about his work with actors.
众所周知，雅克·欧迪亚的《我的战斗cœur s 'est arrêté》(2005)是詹姆斯·托巴克导演的《手指》(1978)的翻拍版。与翻拍的惯常趋势相反，《战斗》被普遍认为是一部比《手指》更成功的电影。这部法国电影推动了欧迪亚和主演罗曼·杜里斯、尼尔斯·阿雷斯楚普的事业，而托巴克和哈维·凯特尔的事业则在《手指》之后停滞不前。法国翻拍版在叙事结构和人物塑造上也被认为在美学上更成功。《手指》——在某种程度上是新好莱坞电影的典型——围绕着吉米·安杰利歇斯底里的不可能的男性危机展开，体现在凯特尔过度活跃的表演中，杜里斯更细致入微的表演创造了托马斯·瑟尔这个更可信、更讨人喜欢的角色。具有讽刺意味的是，人们对电影翻拍的抱怨——“复制”往往会抚平“原创”的粗糙边缘，在一个简洁的叙事弧线中解决模棱两可的问题——在这两部电影中可以说是正确的，标准的国家身份被颠倒了(法国电影是对有问题的美国模式的抛光翻拍)。本文通过对凯特尔和杜里斯的表演风格的细读，以及对主人公各自性格轨迹的分析，对两部电影进行了比较。在这个过程中，它询问了有关奥迪亚对美国电影的贡献以及他与演员合作的问题。
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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1231450
J. Dobson
Abstract Jacques Audiard’s De rouille et d’os/Rust and Bone provides a further example of this filmmaker’s sustained attention to the powerful narrative, filmic and affective impacts of genre hybridisation – in this case the knowing mix of realist and melodramatic modes. This article sets Audiard’s film in the broader critical context of shifting approaches to melodrama and argues that Rust and Bone represents an important re-purposing of the melodramatic mode that reconfigures the trope of embodied suffering associated with melodrama, to resituate the body as a site of affective communication, social agency and resistance. The article concludes by suggesting that, whilst critical and popular reception of the film has focused on its use of the special effects used to support Marion Cotillard’s performance as a double amputee, the film’s re-purposing of melodrama can be seen to create a special affect that is no less striking.
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Pub Date : 2016-09-01DOI: 10.1080/14715880.2016.1240993
Geneviéve Sellier
Résumé De battre mon cœur s’est arrêté (Audiard, 2005) a reçu un accueil critique contrasté, qui a posé la question de la misogynie du réalisateur Jacques Audiard. Cet article propose d’analyser les représentations des identités et des rapports de sexe que construit le film, dans le contexte français d’un cinéma d’auteur revisité par le film noir.
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Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164417
C. Forest
Résumé Modifiant profondément de nombreux métiers au sein de l’industrie du film en France, faisant apparaitre de nouveaux acteurs en tant qu’intermédiaires techniques et financiers, la numérisation de la diffusion du film en salle a été accompagnée réglementairement et financièrement par les pouvoirs publics. Ils n’avaient toutefois pas anticipé la rapidité du basculement de la pellicule aux pixels, ni la mise sous dépendance de la filière française à des normes et des technologies essentiellement étatsuniennes, pas plus que l’évolution du rapport de force entre les professions de la diffusion cinématographique. Le bouleversement radical de nombreux métiers n’a pas fini de produire la totalité de ses effets, et cette nouvelle manière de diffuser collectivement des images a modifié la définition même du septième art. Toutes les potentialités du cinéma numérique n’ont pas encore été explorées mais l’accélération structurelle du renouvellement lié aux outils informatiques pose de nombreuses interrogations sur cette dépendance de l’exploitation cinématographique à ses fournisseurs, qui tranche singulièrement avec l’absence d’impact sur la demande des spectateurs et leur fréquentation en salles.
{"title":"Exploitants et distributeurs de films en salles en France à l’ère numérique : évolution des métiers et des rapports de force","authors":"C. Forest","doi":"10.1080/14715880.2016.1164417","DOIUrl":"https://doi.org/10.1080/14715880.2016.1164417","url":null,"abstract":"Résumé Modifiant profondément de nombreux métiers au sein de l’industrie du film en France, faisant apparaitre de nouveaux acteurs en tant qu’intermédiaires techniques et financiers, la numérisation de la diffusion du film en salle a été accompagnée réglementairement et financièrement par les pouvoirs publics. Ils n’avaient toutefois pas anticipé la rapidité du basculement de la pellicule aux pixels, ni la mise sous dépendance de la filière française à des normes et des technologies essentiellement étatsuniennes, pas plus que l’évolution du rapport de force entre les professions de la diffusion cinématographique. Le bouleversement radical de nombreux métiers n’a pas fini de produire la totalité de ses effets, et cette nouvelle manière de diffuser collectivement des images a modifié la définition même du septième art. Toutes les potentialités du cinéma numérique n’ont pas encore été explorées mais l’accélération structurelle du renouvellement lié aux outils informatiques pose de nombreuses interrogations sur cette dépendance de l’exploitation cinématographique à ses fournisseurs, qui tranche singulièrement avec l’absence d’impact sur la demande des spectateurs et leur fréquentation en salles.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"16 1","pages":"152 - 164"},"PeriodicalIF":0.0,"publicationDate":"2016-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1164417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252482","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 : 2016-05-03DOI: 10.1080/14715880.2016.1164420
Isabelle Vanderschelden
Abstract This interview with established French screenwriter Agnès de Sacy provides complementary information on the different roles played by the screenwriter in the writing and production stages of a film. It also assesses the professional status of the screenwriter in France in the context of their income, advances and royalties payment. It also discusses the nature of the professional contracts negotiated by screenwriters.
本文对法国知名编剧agn de Sacy进行了访谈，为我们提供了关于编剧在电影创作和制作阶段所扮演的不同角色的补充信息。它还评估了法国编剧在收入、预付款和版税支付方面的专业地位。本文还讨论了编剧谈判的专业合同的性质。
{"title":"Entretien avec Agnès de Sacy, scénariste : le financement de l’écriture des films et la rémunération des auteurs","authors":"Isabelle Vanderschelden","doi":"10.1080/14715880.2016.1164420","DOIUrl":"https://doi.org/10.1080/14715880.2016.1164420","url":null,"abstract":"Abstract This interview with established French screenwriter Agnès de Sacy provides complementary information on the different roles played by the screenwriter in the writing and production stages of a film. It also assesses the professional status of the screenwriter in France in the context of their income, advances and royalties payment. It also discusses the nature of the professional contracts negotiated by screenwriters.","PeriodicalId":51945,"journal":{"name":"Studies in French Cinema","volume":"16 1","pages":"179 - 185"},"PeriodicalIF":0.0,"publicationDate":"2016-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14715880.2016.1164420","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60252383","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 : 2016-05-03DOI: 10.1080/14715880.2016.1164418
Isabelle Vanderschelden
Abstract The funds allocated to developing screenplays currently constitute on average 2 to 3% of the overall budget of a film in France. Producers are more than ever dependent on presenting attractive draft screenplays to find their financial partners. As a result, screenwriters undoubtedly are active economic partners of production planning, but they do not seem to receive much professional recognition for this vital role. Moreover, their earnings often fail to reflect the amount of work produced and do not reward adequately the risks taken, including the possibility that production could stop after the screenplay is written. This article investigates the place of screenplay development within the economics of French cinema. Using recently published official reports and interviews, the author identifies different types of screenwriters – freestanding screenwriters, writing teams and screenwriters co-writing with the director – and addresses their working conditions. She surveys some of the contract modalities for the remuneration of professional screenwriters. Finally, she reviews the proposals made by different professional bodies to improve the remuneration of screenwriters and reform the financing of screenwriting.
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Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164422
Jean-Louis Jeannelle
Abstract This article opposes the notions of adaptation and adaptability, the latter understood here as a complex commercial, screenwriting and critical process. Following the sociological methods endorsed by Simone Murray in The Adaptation Industry, the author studies the concrete aspects of this process of evaluation, development and use of the adaptability of literary works through an examination of the case of a French company: Best Seller to Box Office, a company created to identify the ‘adaptability quotient’ of contemporary fiction and non-fiction works. The composition of adaptation spec sheets, with the purpose of measuring and highlighting adaptability potential, makes up one of the essential elements of this business, which is relatively new to France. This article examines the particular nature of the business, especially the interface between different facets of the adaptation process.
本文反对改编和适应性的概念，将后者理解为一个复杂的商业、编剧和批判过程。遵循西蒙娜·默里在《改编产业》一书中认可的社会学方法，作者通过对一家法国公司的案例研究，研究了文学作品适应性评估、发展和使用过程的具体方面:Best Seller to Box Office是一家旨在确定当代小说和非小说作品“适应性商数”的公司。适应规格表的组成，以衡量和突出适应潜力为目的，构成了这项业务的基本要素之一，这对法国来说相对较新。本文考察了业务的特殊性质，特别是适应过程的不同方面之间的接口。
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Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164421
Isabelle Vanderschelden
Money seems to be at the centre of recent debates around French cinema, and the production mechanisms of the feature film industry are under constant scrutiny. Yet, little research is available in ...
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Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164419
Jacqueline Nacache
Abstract The French system of film funding allows French cinema to resist the hegemony of Hollywood better than any other European cinema. It is a reflection of France’s protective stance regarding its cultural products, a position that has long been expressed in its strong defence of the principle of ‘cultural exception’ in free trade agreements between the European Union and the United States. It might be thought that an arrangement that is so favourable to film production would receive unanimous support. On the contrary, it fuels controversy and is regularly criticised and even attacked. An example of this is producer Vincent Maraval’s claim at the end of 2012 that French actors are ‘overpaid’. This opinion piece had considerable repercussions because it called the funding system of French cinema into question. Its effects are still being felt today. This article will follow the thread of the discussion throughout 2013, a year that is a perfect case study because it presents an exceptional sequence of incidents and reactions around the question of film funding. Through their denunciation of the excesses linked to government assistance, criticism of the avance sur recettes (advance against earnings), rejection of the collective agreement, the fantasy of a cinema of ‘public servants’, and finger-pointing at films with low audiences, these reactions blurred the lines between supporters and opponents of the system. The author analyses the tensions and misunderstandings expressed in these debates, highlighting their often contradictory nature. She points out that these tensions have their origins in debates that significantly predate the very existence of cinema, because they follow in the footsteps of a traditional conflict in France between art and money. She above all stresses the fact that they have inherited a very old suspicion of any art form considered to be dependent on government support.
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