![]() ![]() No part o f this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. ![]() Individual chapters © 2000 contributors Typeset in Garamond by RefineCatch Limited, Bungay, Suffolk All rights reserved. 711 Third Avenue, New York, NY 10017 Routledge is an imprint o f the Taylor & Francis Group, an informa business © 2000 Susan Hayward and Ginette Vincendeau for selection and editorial matter. This page intentionally left blank F R E N C H FI LM: TEXTS AND CONTEXTS Second Edition Edited by Susan Hayward and Ginette Vincendeau First published 2000 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, 0 X 1 4 4RN Simultaneously published in the USA and Canada by Routledge, Inc. She is the author of Jean Gabin: anatomie d'un mythe (1993), The Companion to French Cinema (1996) and Pépé le Moko (1998). Ginette Vincendeau is Professor of Film Studies at the Uni versity of Warwick. She is the author of French National Cinema (1993) and Key Concepts in Cinema Studies (1996). Susan Hayward is Professor of French Studies at the University of Exeter. Kedward, Norman King, Michèle Lagny, Colin McArthur, Michel Marie, Julianne Pidduck, Keith Reader, Bérénice Reynaud, Pierre Sorlin, Carrie Tarr, Maureen Turim, Ginette Vincendeau. Contributors: Dudley Andrew, Jacques Aumont, Richard Dyer, Christopher Faulkner, Jill Forbes, Anne Gillain, Susan Hayward, Jean-Pierre Jeancolas, H. A fully revised Introduction and Bibliography on French cinema.A guide to further reading and a filmography of the director accompany ing each analysis.New chapters on key films of the 1990s.Coverage of the major periods, film-makers and genres in French sound cinema.This revised and updated second edition includes: French Film: Texts and Contexts brings together leading scholars to discuss these films in relation to such issues as the history of French cinema, the social and cultural contexts of the films’ production and reception, the relationship with Hollywood cinema, gender politics, authorship, and genre. Films dis cussed include masterpieces such as Renoir’s Le Crime de Monsieur Lange and La Bête humaine, and Carné’s Les Enfants du paradis popular classics such as Les Vacances de Monsieur Hulot and Coup de foudre landmarks of the New Wave such as Les 400 coups and A bout de souffle, and important contemporary films such as Cyrano de Bergerac, Nikita and La Haine. Citation previewįRENCH FILM: TEX TS AND C O N T EX T S This innovative textbook provides detailed analyses of twenty-two key films with the canon of French cinema, from the 1930s to the 1990s. Kedward - Maternal legacies : Diane Kury's Coup de foudre (1983) / Carrie Tarr - Representing the sexual impasse : Eric Rohmer's Les nuits de la pleine lune (1984) / Berenice Reynaud - Beyond the gaze and into femme-filmécriture : Agnès Varda's Sans toit ni loi (1985) / Susan Hayward - Versions, verse and verve : Jean-Paul Rappeneau's Cyrano de Bergerac (1990) / Julianne Pidduck - Recycled woman and the postmodern aesthetic : Luc Besson's Nikita (1990) / Susan Hayward - Designs on the banlieue : Mathieu Kassovitz's La Haine (1995) / Ginette Vincendeau. Reader - Breath of sea air : Jacques Tati's Les vacances de Monsieur Hulot (1952) / Pierre Sorlin - Casque d'or, casquettes, a cask of ageing wine : Jacques Becker's Casque d'or (1952) / Dudley Andrew - No place for homosexuality : Marcel Carné's L'Air de Paris (1954) / Richard Dyer - Script of delinquency : François Truffaut's Les 400 coups (1959) / Anne Gillain - It really makes you sick! : Jean Luc Godard's A bout de souffle (1959) / Michel Marie - Fall of the gods : Jean Luc Godard's Le mépris (1963) / Jacques Aumont - Mise-en-scène degree zero : Jean Pierre Melville's Le samouraï (1967) / Colin McArthur - Eye for irony : Eric Rohmer's Ma nuit chez Maud (1969) / Norman King - Sex, politics and popular culture : Bertrand Blier's Les valseuses (1973) / Jill Forbes - Anti-carnival of collaboration : Louis Malle's Lacombe Lucien (1974) / H.R. ![]() Table of contents : In the name of the father : Marcel Pagnol's "trilogy": Marius (1931), Fanny (1932), César (1936) / Ginette Vincendeau - Paris, Arizona or the redemption of difference : Jean Renoir's Le crime de Monsieur Lange (1935) / Christopher Faulkner - Fleeing gaze : Jean Renoir's La bet̂e humaine (1938) / Michele Lagny - Poetic realism as psychoanalytical and ideological operation : Marcel Carné's Le jour se lève (1939) / Maureen Turim - Beneath the despair, the show goes on : Marcel Carné's Les enfants du paradis (1943-45) / Jean-Pierre Jeancolas - Sacrament of writing : Robert Bresson's Le journal d'un curé de campagne (1951) / Keith A. ![]()
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