French Cinema

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

Parallel Paths to Self-Discovery A Comparative History of the Critical Discourses of the'Nouveau Roman'and the'Nouvelle Vague', 1951-1967

by Dorota Ostrowska

Reading the French New Wave: Critics, Writers and Art Cinema In France

by Dorota Ostrowska

"Tensional Differences": The Anxiety of Re-Mediation in Jean-Luc Godard’s New Wave Films

by Ágnes Pethő

Essay in the recently re-launched Vertigo Magazine, a special issue dedicated to the provocative cinema of Jean-Luc Godard.

This essay discusses the way in which Godard, in his films made during the period of the Nouvelle Vague, addresses the... more This essay discusses the way in which Godard, in his films made during the period of the Nouvelle Vague, addresses the issues regarding the rivalry between the emerging modern cinema and the other arts and media.

El ojo, la mirada: representación e imagen en las trazas de la Antropología Visual

by L. Nicolás Guigou

"A Star who is not like the Others: Arletty’s Publicity Persona during the 1930s"

by Ellen Pullar

"Studies in French Cinema" 12, no. 1 (2012).

Martine au cirque, Martine au bûcher ou le point aveugle de l'affaire Lola Montès

by Le Gras Gwénaëlle

in Lola Montès: lectures croisées, Marguerite Chabrol et Pierre-Olivier Toulza (dir.), L'Harmattan, pp. 141-170.

L’Approche gender pour une relecture du cinéma populaire français classique.

by Le Gras Gwénaëlle

in Faire de la recherche en cinéma et en audiovisuel : quelles démarches pour quels enjeux ?, Pierre Beylot, Isabelle Le Corff et Michel Marie (dir.), Presses Universitaires de Bordeaux.

Annie Girardot de la Comédie-Française au film policier des années 50, ou le brouillage des stéréotypes du genre

by Le Gras Gwénaëlle

in Studies in French Cinema, numéro spécial dixième anniversaire de la revue, vol 10, n°3, pp.235-250.

“Coupable altérité” : Stroheim dans les films criminels français des années 30

by Le Gras Gwénaëlle

in revue Double jeu (revue du Centre de Recherche et de Documentation des Arts du Spectacle, Université de Caen), n° 5, « Les Représentations de l’Autre au théâtre et au cinéma (XIXème, XXème siècle), sous la direction de Chantal Meyer-Plantureux et Geneviève Sellier, Presses Universitaires de Caen, mai 2009, pp. 81-96.

Annie Girardot, une enquêtrice aux prises avec le cinéma policier/criminel français des années 70-80

by Le Gras Gwénaëlle

in Policiers et criminels, un genre populaire européen sur grands et petits écrans, sous la direction de Raphaëlle Moine, Brigitte Rollet et Geneviève Sellier, L’Harmattan, avril 2009, pp. 157-166.

Edwige Feuillère, escroc mondaine entre deux genres

by Le Gras Gwénaëlle

in Genres et acteurs du cinéma français 1930-1960, Gwénaëlle Le Gras et Delphine Chedaleux (dir.), Presses Universitaires de Rennes, 2012.

Word meets image: Racine on silent film

by Kate Tunstall

Channel hopping: Charlotte Rampling in French cinema of the early 2000s

by William Brown

Celebrity Studies, 3:1, 2012, pp. 52-63.

In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made... more In this article, I shall explore Charlotte Rampling's star persona in a series of French/French-backed films made between 2000 and 2005, in particular considering her as an ageing transnational female star, in terms of both representation and performance. By representation, I mean to analyse how Rampling's nationality, gender and age function in our understanding of her and her films, not least because she often plays sexually active and/or aggressive women. In the films discussed here, which include Sous le sable/Under the Sand (François Ozon, France, 2000), Embrassez qui vous voudrez/Summer Things (Michel Blanc, France/UK/Italy, 2002), Swimming Pool (François Ozon, France/UK, 2003), Vers le sud/Heading South (Laurent Cantet, France/Canada, 2005) and Lemming (Dominik Moll, France, 2005), Rampling in particular plays sexually active and/or aggressive older women. However, I shall also consider Rampling through the framework of performance. Following Elena del Río (2008), I shall argue that Rampling repeatedly produces affective performances that not only play upon but also elude the representational aspects of her work – and that this notion of what del Río terms ‘affection’ might be a useful framework through which to reconsider the concept of charisma, a quality that Richard Dyer, drawing upon Max Weber, identifies in Stars (1998 [1979], p. 34–37).

Jean-Luc Godard, 'Questa è la mia vita'

by Nicola D'Ugo

Pubblicato/Published in: 'Notizie in... Controluce', n. XX/9, settembre 2011, p. 21.

Su alcune tecniche impiegate da Jean-Luc Godard in 'Vivre sa vie' (1962) per realizzare la sua concezione di 'cinema... more Su alcune tecniche impiegate da Jean-Luc Godard in 'Vivre sa vie' (1962) per realizzare la sua concezione di 'cinema epico'.

[On some devices used by Jean-Luc Godard in 'Vivre sa vie' (1962) in order to give way to his conception of 'epic cinema'.]

Ces histoires qui n'ont pas eu lieu : sur quelques effets de théâtralité dans Smoking No smoking

by Marguerite Chabrol

Revue Double jeu, n°7, "Alain Resnais et le théâtre", dir. Chantal Meyer-Plantureux et Jean-Louis Libois, Presses Universitaires de Caen, 2010, pp.133-141.

Marcel L'Herbier cinéaste musical ?

by Marguerite Chabrol

in Marcel L'Herbier, l'art du cinéma, dir. Laurent Véray, AFRHC, 2007, pp.217-228.

L'imaginaire découpé de Mon oncle de Jacques Tati

by Marguerite Chabrol

Cahiers Louis-Lumière n°5, Coupe, découpe, découpage, juin 2008, pp. 25-31

Jean-Pierre Melville and 1970s French film style

by Tim Palmer

This article, a seminal English-language appraisal of the then-neglected figure Jean-Pierre Melville, uses Un Flic... more This article, a seminal English-language appraisal of the then-neglected figure Jean-Pierre Melville, uses Un Flic (1972), the filmmaker's last completed production, to explore his minimalist, ascetic approach to film style, and the problems his career has posed for overarching histories of postwar French cinema.

Jean-Pierre Melville and 1970s French film style

by Tim Palmer

This article, a seminal English-language appraisal of the then-neglected figure Jean-Pierre Melville, uses Un Flic... more This article, a seminal English-language appraisal of the then-neglected figure Jean-Pierre Melville, uses Un Flic (1972), the filmmaker's last completed production, to explore his minimalist, ascetic approach to film style, and the problems his career has posed for overarching histories of postwar French cinema.