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Relevant bibliographies by topics / 1930s French Cinema

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Academic literature on the topic '1930s French Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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Journal articles on the topic "1930s French Cinema"

1

Reader, Keith. "Thebanlieuein French cinema of the 1930s." French Cultural Studies 25, no. 3-4 (2014): 387–95. http://dx.doi.org/10.1177/0957155814540405.

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This article looks at representations of the banlieue in the cinema of the 1930s – a period before the term banlieue was synonymous with deprivation and violence as, especially since Matthieu Kassowitz’s 1995 film La Haine, it has subsequently tended to become. The work of Claude Autant-Lara and Maurice Lehmann ( Fric-Frac, Circonstances atténuantes) and that of Anatole Litvak ( Cœur de Lilas) receive close attention along with two more widely known films, Marcel Carné’s tragic Le Jour se lève, whose banlieue is topographically unsituated but could well be Parisian, and Jean Renoir’s Partie de campagne where the countryside near Paris provides the setting for two bucolic idylls that offer a different, less grim view of the banlieue than that nowadays current.

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Lewis, Hannah. "The piano mécanique in 1930s French cinema." French Screen Studies 20, no. 3-4 (2020): 158–79. http://dx.doi.org/10.1080/14715880.2019.1703618.

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Faulkner, Christopher. "Affective Identities: French National Cinema and the 1930s." Canadian Journal of Film Studies 3, no. 2 (1994): 3–23. http://dx.doi.org/10.3138/cjfs.3.2.3.

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McCann, Ben. "‘(Under)Scoring Poetic Realism’ – Maurice Jaubert and 1930s' French Cinema." Studies in French Cinema 9, no. 1 (2009): 37–48. http://dx.doi.org/10.1386/sfc.9.1.37_1.

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O'Shaughnessy, M. "Rogues, Romance, and Exoticism in French Cinema of the 1930s." French Studies 68, no. 4 (2014): 587–88. http://dx.doi.org/10.1093/fs/knu207.

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Biltereyst, Daniel. "?Down with French vaudevilles!? The Catholic film movement's resistance and boycott of French cinema in the 1930s." Studies in French Cinema 6, no. 1 (2006): 29–42. http://dx.doi.org/10.1386/sfci.6.1.29_2.

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Cirella-Urrutia, Anne. "Rogues, Romance, and Exoticism in French Cinema of the 1930s by Colleen Kennedy-Karpat." French Review 87, no. 4 (2014): 196–97. http://dx.doi.org/10.1353/tfr.2014.0229.

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Bey-Rozet, Maxime. "From the Casbah to Père Jules’s cabin: theorising the exotic-abject in 1930s French cinema." French Screen Studies 20, no. 2 (2019): 107–24. http://dx.doi.org/10.1080/14715880.2019.1643186.

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Artemeva, Ekaterina A. "Dziga Vertov — Boris Kaufman — Jean Vigo." Vestnik of Saint Petersburg University. Arts 10, no. 4 (2020): 560–70. http://dx.doi.org/10.21638/spbu15.2020.402.

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The article is an attempt to discuss Dziga Vertov’s influence on French filmmakers, in particular on Jean Vigo. This influence may have resulted from Vertov’s younger brother, Boris Kaufman, who worked in France in the 1920s — 1930s and was the cinematographer for all of Vigo’s films. This brother-brother relationship contributed to an important circulation of avant-garde ideas, cutting-edge cinematic techniques, and material objects across Europe. The brothers were in touch primarily by correspondence. According to Boris Kaufman, during his early career in France, he received instructions from his more experienced brothers, Dziga Vertov and Mikhail Kaufman, who remained in the Soviet Union. In addition, Vertov intended to make his younger brother become a French kinok. Also, À propos de Nice, Vigo’s and Kaufman’s first and most “vertovian” film, was shot with the movable hand camera Kinamo sent by Vertov to his brother. As a result, this French “symphony of a Metropolis” as well as other films by Vigo may contain references to Dziga Vertov’s and Mikhail Kaufman’s The Man with a Movie Camera based on framing and editing. In this perspective, the research deals with transnational film circulations appealing to the example of the impact of Russian avant-garde cinema on Jean Vigo’s films.

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Reynolds, Siân. "The face on the cutting-room floor: women editors in the French cinema of the 1930s." Labour History Review 63, no. 1 (1998): 66–82. http://dx.doi.org/10.3828/lhr.63.1.66.

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Dissertations / Theses on the topic "1930s French Cinema"

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Branlat, Jennifer Elise. "Paris, Female Stardom, and 1930s French Cinema." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345550540.

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McCann, Benjamin Edward. "Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema." Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/c99b13b0-9aca-425b-ba16-4ce97d9c643f.

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The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions and function as amplifier of the story. In order to identify the importance of decor as an interpretative matrix of poetic realism, I shall show how poetic realist decor is the confluence of orthodox architectural practice, personal temperament and an appeal to popular memory. By examining the design practices of individual set designers, the thesis will provide evidence for the capacity for architecture to act as resonator of mental impact. The study will show how the set designer emotionalises architecture, investing it with a strong spatial, visual and performative presence. Although other critical studies of poetic realism have recognised the distinctiveness of the set design, they have not fully examined the architectural specificity of the films. The thesis contends that the director-designer collaboration sought to distil a visual concept from the thematic and psychological concerns of the screenplay. This interface between story and style will be demonstrated by a move from the general to the specific, looking at depictions of the city, a rhythmic recurrence of decor fragments and the micro-dimensions of the object. Ultimately, the set design and architectonics of poetic realism are performative in the sense that they can represent a discourse of their own, producing an engaging dialogue with more traditional modes of film performance.

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Hertaud-Wright, Marie-Helene. "Masculinity, hybridity and nostalgia in French colonial fiction films of the 1930s." Thesis, Loughborough University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327684.

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Norrie, Kathleen Margaret. "Family patterns in French films of the 1930s and of the Occupation." Thesis, University of Stirling, 1995. http://hdl.handle.net/1893/24388.

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This thesis comprises a study of the inscription of father, son, and daughter figures in French films of the 1930s and of the Occupation. Using the tool of Lacanian psychoanalytic theory, Part One looks at the inscription of patriarchy and the positions allotted within it to mature men, young men and young women in classic poetic-realist texts and run-of-the-mill productions of the 1930s, in order to identify the latent collective tensions in the society of that period. Part Two compares the inscription of father, son and daughter figures, together with certain stylistic features and themes, in a variety of films of the Occupation with the paradigm derived from the foregoing analysis, in order to qualify the widely held view that French films changed little between 1929 and 1945.

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Brown, Tom. "From intimate pleasures to spectacular vistas : musicality and historicity in French and American 'classical' cinema of the 1930s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1119/.

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This thesis considers the role of spectacle in two modes of filmmaking in the French and American 'classical' cinemas of the 1930s. I examine the relationship of spectacle to the emotions and drama of musical films, and to the 'history-telling' of biopics, war films and other genres of historical cinema. One reason for the comparison is the hegemonic position of classical Hollywood cinema in film scholarship. Although I am respectful of the insights offered by the concept of a 'classical' cinema, a more central motivation for this study is the failure of much criticism to account for the relationship of spectacle to a concept denoting an unobtrusive, self-effacing style. An introduction is followed by a chapter surveying key literature in the field, focusing in particular on work on classical French and American cinema, cinematic spectacle and filmic, particularly generic, categories. The second chapter is divided roughly in two. The first half examines the various theatrical roots of French and American musical films of the thirties. The second half examines the 'utopian' feelings (Dyer, ([1977] 1992) musical spectacle serves. This division uncovers the greater ambivalence of French musical films, and their more circuitous approach to spectacle. Chapter three examines historical films through categories inspired by the work of Friedrich Nietzsche ([1874] 1983). I examine the prevailing 'monumental' approach to historical subjects, but also two key varieties of spectacle: the 'spectacular vista' and the 'decor of history'. I conclude by reflecting on the possibility of a critical historiography within French and American film of the thirties. Though the balance of my attention favours French examples in the chapter on musical films, my intention throughout is to compare and, where fruitful, contrast the two national cinemas. The thesis develops theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible of the practice of close textual analysis. This is my central method of investigation. I attempt, throughout, to place the examination of films within their wider historical, industrial and critical contexts.

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Higbee, William Edward. "Marginality and ethnicity in French cinema of the 1980s and 1990s." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364416.

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Leahy, Sarah. "Simone Signoret and Brigitte Bardot : femininities in 1950s French cinema." Thesis, University of Exeter, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269668.

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Smith, Alison. "The influence of May 1968 on French commercial cinema in the 1970s." Thesis, University of Reading, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357903.

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Parson, Julie. "The Tradition of Femininity: Rethinking Gender and Sexuality in 1950s French Cinema." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313583878.

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Bias, Rebecca H. "From golden age to silver screen French music-hall cinema from 1930-1950 /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117225437.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains vii, 216 p. Includes bibliographical references (p. 195-216). Available online via OhioLINK's ETD Center

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Books on the topic "1930s French Cinema"

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Vincendeau, Ginette. French cinema in the 1930s: Social text and context of a popular entertainment medium. University of East Anglia, 1985.

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Crisp, C. G. The classic French cinema, 1930-1960. Indiana University Press, 1993.

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Förster, Annette. Women in the Silent Cinema. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789462989955.

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This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.

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4

Powrie, Phil. Pierre Batcheff and stardom in 1920s French cinema. Edinburgh University Press, 2009.

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Éric, Rebillard, ed. Pierre Batcheff and stardom in 1920s French cinema. Edinburgh University Press, 2009.

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French cinema in the 1980s: Nostalgia and the crisis of masculinity. Clarendon Press, 1997.

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Les poètes modernes et le cinéma (1910-1930). Classiques Garnier, 2013.

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Raymond, Chirat, ed. Noir et blanc: 250 acteurs du cinéma français, 1930-1960. Flammarion, 2000.

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Buckland, Warren, and Daniel Fairfax, eds. Conversations with Christian Metz. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789089648259.

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From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory: Essais sur la signifi cation au cinéma, tome1 et 2; Langage et cinéma; Le signifiant imaginaire; and L’Enonciation impersonnelle. These books set the agenda of academic film studies during its formative period. Metz’s ideas were taken up, digested, refined,reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English for the first time a series of interviews with Metz, who offers readable summaries,elaborations, and explanations of his sometimes complex and demanding theories of film. He speaks informally of the most fundamental concepts that constitute the heart of film theory as an academic discipline — concepts borrowed from linguistics, semiotics, rhetoric, narratology, and psychoanalysis. Within the colloquial language of the interview, we witness Metz’s initial formation and development of his film theory. The interviewers act as curious readers who pose probing questions to Metz about his books, and seek clarification and elaboration of his key concepts. We also discover the contents of his unpublished manuscript on jokes, his relation to Roland Barthes, and the social networks operative in the French intellectual community during the 1970s and 1980s.

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Showing the world to the world: Political fictions in French cinema of the 1990s and early 2000s. Cambridge Scholars Pub., 2008.

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Book chapters on the topic "1930s French Cinema"

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Asibong, Andrew. "Nouveau Désordre: Diabolical Queerness in 1950s French Cinema." In Queer 1950s. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137264718_3.

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Rollet, Brigitte. "French Women Directors Since the 1990s." In A Companion to Contemporary French Cinema. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch18.

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Chabrol, Marguerite. "The Return of Theatricality in French Cinema of the 1990s." In A Companion to Contemporary French Cinema. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch23.

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Phillips, Alastair, and Sébastien Layerle. "The Caves of Saint-Germain-des-Prés in 1950s French Cinema." In Paris in the Cinema. British Film Institute, 2017. http://dx.doi.org/10.1057/978-1-84457-820-7_4.

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Higbee, Will. "Diasporic and Postcolonial Cinema in France from the 1990s to the Present." In A Companion to Contemporary French Cinema. John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118585405.ch6.

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Forshaw, Barry. "Fresh Blood or Exhaustion?: The 1970s to the Turn of the Century." In British Gothic Cinema. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137300324_11.

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"Female theatrical stardom in 1930s French cinema." In The French Screen Goddess. I.B.Tauris & Co Ltd, 2015. http://dx.doi.org/10.5040/9780755694747.ch001.

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Reader, Keith. "The banlieue in French cinema of the 1930s." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526106858.003.0005.

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Assessing popular comedies and dramas, the author argues that in 1930s French cinema the banlieue is an ‘imagined community’ that resists transfer to a map. Its dual function as a space of social relegation and popular entertainment correlates to a specifically Parisian social geography where the affluent, verdant west contrasts sharply with the industrial northeast. Suburban locales allow the exploration of themes ranging from proletarian downfall (Le Jour se lève, Marcel Carné 1939) and murder (Cœur de Lilas, Anatole Litvak 1932) to open-air pleasure-seeking (Partie de campagne, Jean Renoir, 1936/1946) and the socialising dimension of popular song. By bringing together a variegated set of films from the left-leaning screenplays of Jacques Prévert to the Pétainist Notre-Dame de la Mouise (Robert Péguy, 1941), the author probes the tension inherent in the imagined banlieue between work and play, riches and poverty, redemption and despoilment.

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Reader, Keith. "The banlieue in French cinema of the 1930s." In Screening the Paris suburbs. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526107800.00010.

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Flinn, Margaret C. "The Spatial Constitution of 1930s Documentary." In The Social Architecture of French Cinema, 1929–1939. Liverpool University Press, 2014. http://dx.doi.org/10.5949/liverpool/9781781380338.003.0002.

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Conference papers on the topic "1930s French Cinema"

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González Cubero, Josefina. "Mirada objetiva y dimensión subjetiva del cine en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.803.

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Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803

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