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: 10.1080/14715880.2016.1238169
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。
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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.
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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。
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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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