Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164415
Fanny Beuré
Abstract Si la percée des réalisatrices dans l’industrie du cinéma, en particulier au cours de la dernière décennie a été constatée, le profil des films qu’elles ont en charge, en termes de budgets comme de financements, est plus rarement étudié. À partir de l’analyse statistique des données communiquées par les producteurs au Centre national du cinéma et de l’image animée (CNC) lors de la demande d’agrément des investissements, cet article propose d’établir un bilan détaillé de la production et du financement des films français réalisés ou coréalisés par des femmes sur la période 2004–2013. Après un panorama de la production, en volume comme en termes de budgets, nous présentons les problématiques liées aux montages financiers des films, pour interroger les spécificités du financement des œuvres réalisées ou coréalisées par des femmes. Nous questionnons également la pérennité des carrières des réalisatrices par l’analyse comparative des budgets et des financements des premiers, deuxièmes et troisièmes films. En dépit de l’importance croissante du nombre de femmes au sein de l’industrie, l’égalité des moyens n’est pas encore effective. Les réalisatrices sont ainsi cantonnées à des projets aux budgets très modestes et dépendant fortement des financements publics (en particulier des aides sélectives du CNC), même dans le cas de réalisatrices reconnues. Elles sont, en outre, écartées des films aux budgets les plus pharaoniques, souvent des coproductions internationales à très fort potentiel commercial.
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Pub Date : 2016-05-03DOI: 10.1080/14715880.2016.1164416
M. Brangé
Résumé Durant les 25 dernières années, la représentation des scénaristes dans le paysage cinématographique français se modifie, allant vers une reconnaissance de l’importance de leur rôle, la revendication d’une évolution de leur statut et une professionnalisation de leur formation. Cette évolution tranche avec la conception française des scénaristes jusque-là comme collaborateurs occasionnels, parfois écrivains, et plus largement avec l’idée française de l’écriture, liée à l’inspiration et ne nécessitant donc pas d’apprentissage, sinon par la pratique elle-même. L’article se propose d’étudier les étapes de cette évolution des représentations et son contexte, durant les 25 dernières années, entre discours de sous-efficacité des scénarios français, transformation du paysage, fortement concurrentiel, de la formation aux métiers de l’image. On les mettra en parallèle avec le discours tenu dans les méthodes d’écriture de scénarios dont le marché a explosé en France, inspiré des États-Unis, mais tentant de proposer aussi un discours plus spécifiquement français où se lit la persistance d’une tension avec l’ancienne représentation du scénariste.
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2016.1138722
Barry Nevin
Funded to commemorate the centenary of the conquest of Algeria, Le Bled is widely dismissed as propagandist fodder and remains among the most critically neglected of Renoir’s key works. This article argues that the film marks a landmark in the director’s output for three main reasons: first of all, Le Bled was Renoir’s first attempt to criticise contemporary bourgeois society, specifically the newest generation of French immigrants to Algeria. Secondly, Renoir’s class critique is articulated through a highly politicised usage of deep staging, a technique that would form a key aspect of the director’s mise en scène during the golden age of French cinema, most notably in La Chienne (1931), Le Crime de Monsieur Lange (1936) and La Règle du jeu (1939). Finally, Renoir’s depiction of the natural landscape as both a physical and social space foreshadows later works ranging from The Southerner (1945) to The River (1951). Key to this argument is a textual reading of Renoir’s exploitation of deep space, décor and costume design within a broader narrative framework of upper-class satire. Drawing on previously unpublished materials held at UCLA’s Jean Renoir archive, this article ultimately aims to re-evaluate Le Bled as a crucial turning point within the context of Renoir’s work.
《流血》是为了纪念征服阿尔及利亚一百周年而创作的，但它被广泛认为是宣传素材，被认为是雷诺阿最被忽视的重要作品之一。本文认为，这部电影在雷诺阿的作品中具有里程碑式的意义，主要有三个原因:首先，《流血》是雷诺阿第一次尝试批判当代资产阶级社会，特别是阿尔及利亚新一代法国移民。其次，雷诺阿的阶级批判是通过深度舞台的高度政治化的使用来表达的，这种技术在法国电影的黄金时代形成了导演的场景设计的关键方面，最著名的是La Chienne (1931)， Le Crime de Lange先生(1936)和La r du jeu(1939)。最后，雷诺阿对自然景观的描绘既是一个物理空间，也是一个社会空间，这为他后来的《南方人》(1945)和《河流》(1951)等作品埋下了伏笔。这个论点的关键是在一个更广泛的上层阶级讽刺的叙事框架内，对雷诺阿对深空、深海和服装设计的利用进行文本解读。利用加州大学洛杉矶分校的让·雷诺阿档案中以前未发表的材料，本文最终旨在重新评估《流血》作为雷诺阿作品背景下的关键转折点。
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2016.1138721
Jason Hartford
Abstract This article proposes François Ozon’s Ricky (2009) as a case study for a cognitive-analytical discussion of film genre, with a focus on how horror cinema is received in France. By contrasting Ricky’s film text with its reception history, this discussion brings to light the potential consequences of being a genre film in a culture that resists the discourse of this genre. The argument is predicated on a definition of genre as categorisation according to the affect it elicits in the audience (after Torben Grodal’s work). While identifying characteristics that align the film with quality horror, this article also uncovers Ricky’s treatment of strong cultural taboos, such as cannibalism, alongside the enduring critical taboo of being a horror film, as opposed to a fantasy film, in the French context and within an auteur profile. As a tale about a winged baby, by representing vacillation between the symbolic (angel wings) and the libidinal (chicken wings) as they sprout from the titular character’s body, Ricky shows us a possibly borderline mother and family; but it also reveals an abject truth within cultural incoherencies.
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2016.1138720
Anne Donadey
This article examines the close relationship between gender, film genre and intertextuality in Franco-Algerian filmmaker Rachid Bouchareb’s 2010 feature film Hors la loi to argue that the film’s problematic gender politics detract from Bouchareb’s intended construction of an imagined community. Hors la loi is a historical film about Algerians’ struggle for national liberation from the French, focusing particularly on the Algerian community in Paris. Bouchareb’s multiple filmic intertexts include Pontecorvo’s Battle of Algiers and Hollywood genres such as gangster/mafia, crime, war and western movies. These film genres all tend to center on male characters, a feature also found in Bouchareb’s film. In Hors la loi, female characters are types and stock characters. The film does not reflect the historical reality of Algerian women’s active participation in the war. Bouchareb’s problematic representation of women’s role in the war is due primarily to the influence of epic Hollywood intertexts, which leave less space for female agency than The Battle of Algiers did. As Bouchareb’s war films have reached large audiences, this blind spot is of concern because women of Maghrebian descent in France are simultaneously centered and silenced in public discourse today, thus increasing the need for developing complex representations of their agency in various cultural productions.
本文考察了法国-阿尔及利亚裔导演拉希德·布沙雷(Rachid Bouchareb) 2010年的故事片《爱的故事》(Hors la loi)中性别、电影类型和互文性之间的密切关系，认为影片中存在问题的性别政治削弱了布沙雷意图构建一个想象社区的意图。Hors la loi是一部关于阿尔及利亚人从法国人手中争取民族解放的历史电影，特别关注巴黎的阿尔及利亚社区。Bouchareb的多部电影互文本包括Pontecorvo的阿尔及尔之战和好莱坞类型，如黑帮/黑手党，犯罪，战争和西部电影。这些电影类型都倾向于以男性角色为中心，这在布沙勒布的电影中也有体现。在《爱的世界》中，女性角色是类型和库存角色。影片没有反映阿尔及利亚妇女积极参与战争的历史现实。布沙雷布对女性在战争中角色的表现存在问题，主要是由于好莱坞史诗互文的影响，与《阿尔及尔之战》相比，好莱坞互文给女性角色留下的空间更少。随着布沙勒布的战争电影吸引了大量观众，这一盲点引起了人们的关注，因为法国马格里布裔女性在今天的公共话语中同时处于中心地位，同时又处于沉默状态，因此需要在各种文化作品中发展复杂的代理表现。
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2016.1138723
P. Powrie
1. Abecassis, Michaël, and Marcelline Block, eds. 2015. French Cinema in Close-up: La Vie d’un acteur pour moi. Dublin: Phaeton. 2. Alexandre, Olivier. 2015. La règle de l’exception: l’écologie du cinéma français. Paris: École des hautes études en sciences sociales. 3. Andrew, Dudley, ed. 2011. Opening Bazin: Postwar Film Theory and its Afterlife. Oxford: Oxford University Press. 4. Andrew, Dudley. 2012. What Cinema Is! Bazin’s Quest and its Charge. Chichester: Wiley-Blackwell. 5. Anwar, Mabrouki. 2014. Le cinéma tunisien contemporain: analyse d’une vingtaine de films (entre 2000 et 2007). Saarbrücken: Éditions universitaires Europeennes. 6. Archer, Neil. 2013. The French Road Movie: Space, Mobility, Identity. Oxford: Berghahn. 7. Assiba d’Almeida, Irène, and Sonia Lee. 2015. Essais et documentaires des africaines francophones: un autre regard sur l’Afrique. Paris: L’Harmattan. 8. Aurouet, Carole. 2014. Le cinéma des poètes: de la critique au ciné-texte. Lormont: Le Bord de l’eau. 9. Austin, Guy. 2012. Algerian National Cinema. Manchester: Manchester University Press. 10. Banaji, Ferzina. 2012. France, Film and the Holocaust: From Genocide to Shoah. London: Palgrave Macmillan. 11. Bantcheva, Denitza, and Roberto Chiesi. 2015. Le film noir français: figures, mythologies, auteurs. Rome: Gremese. 12. Bazin, André. 2014. André Bazin’s New Media. Edited and translated by Dudley Andrew. Oakland: University of California Press. 13. Bickerton, Emilie. 2011. A Short History of Cahiers du cinéma. London: Verso. 14. Binh, N. T., José Moure, and Frédéric Sojcher. 2013. Paris-Hollywood, ou le rêve français du cinéma américain. Paris: Klincksieck. 15. Blum-Reid, Sylvie. 2015. Traveling in French Cinema. London: Palgrave Macmillan.
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2015.1065570
J. Colvin
Abstract From 1955 to 1966, Agnès Varda’s French-language feature film output, entailing four films, was characterized by formal control and cool elegance. After her relocation to Los Angeles in 1968, however, Varda’s work took a sharp turn, as evidenced in 1969’s Lions Love – a bricolage of forms and themes, including Warholian long takes, documentary segments, surreal interludes and re-photographed new reports, all swirling around the ideas of celebrity, performance and self-reflexivity. This article explains this drastic formal and narrative departure as a result of Varda’s response to a new taste culture, specifically, that of American underground cinema and experimental theatre. Using art historian Michael Baxandall’s approach to discussing artistic influence and cultural marketplaces, the article traces a few key important aesthetic trends and concerns that Varda likely drew upon when crafting her first English-language film. Additionally, the article argues that Varda adapted the precedents established by filmmakers like Andy Warhol, Shirley Clarke and William Greaves to her own ends, injecting levity and playfulness into a relatively cynical cultural milieu.
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Pub Date : 2016-01-02DOI: 10.1080/14715880.2016.1138719
Jiewon Baek
Abstract In Sylvain George’s documentaries on migrants in Calais, aesthetics, ethics and politics figure together in such a way that revises the understanding of ethics currently held within scholarship on Emmanuel Levinas and documentary cinema. George’s films – L’Impossible (2009) and Qu’ils reposent en révolte (2010) are examined here in particular – move documentary ethics away from moral concerns of how not to offend the alterity of the filmed subject, to the very modes of visuality vis-à-vis the faces of others. The montage of faces in George’s films and the equivocal place of faces in Levinas’s ethics suggest how the immediate expression of the face comes into play through the very forms of mediation and representation, such as metaphors, language and technique. These are the forms through which the cinematic alters visual-sensible dispositions toward others, which is an ethics. The particularity of documentary ethics, then, transpires not as pre-given but only insofar as cinema’s alteration of sense results in moments in which the aesthetic-political work takes the form of documentary.
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Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077034
Fabienne Bullot
Sorti en 1978, L’Argent des autres fait le double récit d’une escroquerie financière et du chômage d’un cadre. Cet article analyse cinq caractéristiques génériques précoces, repérables dans ce film de Christian de Chalonge, qui se développeront dans un ensemble d’œuvres produites dans les années 2000 que nous regroupons sous l’identité « film d’homicide économique ». Dans un deuxième temps, nous montrerons pourquoi, en dépit de ces traits sémantiques communs – le sujet du chômage, le thème de la manipulation des individus, l’inquiétante étrangeté des décors, le personnage du conformiste et une structure narratologique qui relève de la descente aux enfers – ces films qui traitent de la guerre économique et de ses conséquences individuelles et collectives ne peuvent se constituer en genre cinématographique populaire.
1978年发行的《其他人的钱》讲述了金融诈骗和高管失业的双重故事。本文分析了克里斯蒂安·德·查隆吉(Christian de Chalonge)的这部电影的五个早期通用特征，这些特征将在21世纪初的一系列作品中发展起来，我们将其归类为“经济谋杀电影”。在第二步中,我们为什么不顾这些共同的语义特征—失业问题,主题为个人的操纵,墨守成规的惊人的布景、人物的陌生感和一个narratologique结构属于地狱—这些影片涉及个人和集体经济战争及其后果不能成为那种流行的电影。
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Pub Date : 2015-09-02DOI: 10.1080/14715880.2015.1077032
P. Powrie
In the early 1930s there were a number of financial scandals, involving fraud and corruption at the highest levels, as talented individuals played unregulated markets at the expense of small savers. The best known of these involved the banker Marthe Hanau – whose story was later told in La Banquière (Francis Girod, 1980) – and Alexandre Stavisky (the subject of Alain Resnais’s 1974 film). The scandals led to several plays, two of which were made into films in 1934: Ces messieurs de la Santé (Pierre Colombier, starring Raimu) and La Banque Nemo (Marguerite Viel, starring Victor Boucher). The two films have several common features: a charismatic and garrulous male lead as the unscrupulous banker, who tricks those around him into investing their savings unwisely. This is done with help of a female assistant. She seduces the men sexually, while the banker seduces them with words. The culmination of each film is investment in (imaginary) minerals in foreign lands. This article will show how the films’ currency is the seduction of erotic and exotic dreams beneath which there is literally nothing: what circulates, masquerading as something, is the power of words in a spectacular star performance.
20世纪30年代初，出现了一系列金融丑闻，涉及最高级别的欺诈和腐败，因为有才华的个人以牺牲小储户的利益为代价，在不受监管的市场上投机。其中最著名的是银行家玛特·哈瑙(Marthe Hanau)和亚历山大·斯塔维斯基(Alexandre Stavisky)(阿兰·雷奈(Alain Resnais) 1974年的电影的主角)。哈瑙的故事后来被弗朗西斯·吉罗德(Francis Girod, 1980年)讲述。这些丑闻引发了几部戏剧，其中两部在1934年被拍成了电影:《les messieurs de la sant》(皮埃尔·科隆比耶，雷姆主演)和《la Banque Nemo》(玛格丽特·维尔，维克多·布歇主演)。这两部电影有几个共同的特点:一个魅力十足、喋喋不休的男主角饰演一个不择手段的银行家，他欺骗周围的人，让他们不明智地投资自己的积蓄。这是在一位女助理的帮助下完成的。她用性引诱男人，而银行家则用言语引诱他们。每部电影的高潮都是对外国(想象中的)矿产的投资。这篇文章将展示电影的货币是如何被色情和异国情调的梦所诱惑的，而在这些诱惑之下，实际上什么都没有:流传的东西，伪装成什么，是一场壮观的明星表演中文字的力量。
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