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Books on the topic '1930s French Cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

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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2

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

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3

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 come
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4

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

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5

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

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6

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

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7

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

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8

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

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9

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 o
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10

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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11

Bersani, Leo. Forming couples: Godard's Contempt. Legenda, 2003.

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12

Kennedy-Karpat, Colleen. Rogues, Romance, and Exoticism in French Cinema of the 1930s. Fairleigh Dickinson University Press, 2015.

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13

Rogues Romance and Exoticism in French Cinema of the 1930s. Fairleigh Dickinson University Press, 2013.

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14

The Representation of Parisian Speech in the Cinema of the 1930s (Modern French Identities, V. 33). Peter Lang Publishing, 2005.

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15

The Representation of Parisian Speech in the Cinema of the 1930s (Modern French Identities,). Peter Lang Publishing, 2005.

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16

Lewis, Hannah. French Musical Culture and the Coming of Sound Cinema. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.001.0001.

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French Musical Culture and the Coming of Sound Cinema examines film music practices in France during a period of widespread artistic and creative experimentation: the transition from silent to synchronized sound film. While this period in Hollywood has been examined from a range of scholarly perspectives, the transition to sound in France—and the unique interactions between French sound cinema and French musical discourses—remains underexplored. In France, debates about sound cinema were fierce and widespread, and many filmmakers addressed theoretical questions about the potential of the new t
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17

Lewis, Hannah. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0008.

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The conclusion summarizes the book’s main points and themes, particularly the range of diverse responses to the arrival of synchronized sound film in France, and music’s significant role within those responses. It further suggests that examining the interaction between music and cinema during the critical technological juncture of the early 1930s not only nuances our understanding of 1930s French musical and artistic culture more broadly but also provides a new perspective on the development of poetic realist audiovisual practices, revealing “classic French” cinematic conventions as one among
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18

The Classic French Cinema, 1930-1960. Indiana University Press, 1997.

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19

Classic French Cinema, 1930-60, The. I B Tauris & Co Ltd, 1997.

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20

Powrie, Phil. French Cinema in the 1990s: Continuity and Difference. Oxford University Press, USA, 2000.

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21

Powrie, Phil. French Cinema in the 1990s: Continuity and Difference. Oxford University Press, USA, 2000.

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22

French Cinema in the 1970s: The Echoes of May. Manchester University Press, 2005.

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23

Smith, Alison. French Cinema in the 1970s: The Echoes of May. Manchester University Press, 2005.

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24

Phil, Powrie, ed. French cinema in the 1990s: Continuity and difference : essays. Oxford University Press, 1999.

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25

The Battle of the Sexes in French Cinema, 1930–1956. Duke University Press Books, 2013.

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26

Powrie, Phil. French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford University Press, USA, 1998.

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27

Powrie, Phil. French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity. Oxford University Press, USA, 1997.

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28

Lewis, Hannah. “The Music Has Something to Say”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0007.

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Chapter 6 focuses on a well-known case of conflict surrounding a film’s music: the beloved 1934 film L’Atalante. The second collaboration between experimental filmmaker Jean Vigo and film composer Maurice Jaubert, L’Atalante had a disastrous initial release. In an attempt to make the film more broadly accessible, the producers edited the film substantially, replacing parts of Jaubert’s score with the popular song “Le Chaland qui passe.” In altering the soundtrack, they altered an important narrative subtext: a reflexive fixation on synchronized sound film, expressed through a focus on the magi
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29

Ryan, Tom. The Films of Douglas Sirk. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496817983.001.0001.

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Working in Europe during the 1930s, mainly for Germany’s UFA studios, and then in America in the 1940s and ’50s, Douglas Sirk brought to all his work a distinctive style that has led to his reputation as one of the 20th century cinema’s great ironists. He did things his own way: for him, rules were there to be broken, whether they were the decrees of Nazi authorities trying to turn film into propaganda or of studios insisting that characters’ problems should always be solved and that endings should always restore order, providing what Sirk used to call “emergency exits” for audiences. This stu
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30

Ercolani, Eugenio, and Marcus Stiglegger. Cruising. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781800348363.001.0001.

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When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedk
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31

Pompidou, Centre Georges, ed. Paris Moscou, 1900-1930: Arts plastiques, arts appliqués et objets utilitaires, architecture, urbanisme, agitprop,affiche, théâtre-ballet, littérature, musique, cinéma, photo créative. Centre Georges Pompidou/Gallimard, 1991.

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32

Mee, Laura. The Shining. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325444.001.0001.

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Taking a fresh look at The Shining (1980), this book situates the film within the history of the horror genre and examines its rightful status as one of the greatest horror movies ever made. It explores how Stanley Kubrick's filmmaking style, use of dark humour, and ambiguous approach to supernatural storytelling complements generic conventions, and it analyses the effective choices made in adapting King's book for the screen—stripping the novel's backstory, rejecting its clear explanations of the Overlook Hotel's hauntings, and emphasizing the strained relationships of the Torrance family. Th
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33

Toymentsev, Sergei, ed. ReFocus: The Films of Andrei Tarkovsky. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.001.0001.

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Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the best movies ever made. Beginning with the late 1980s, Tarkovsky’s highly complex cinema has continuously attracted scholarly attention by generating countless hermeneutic challenges and possibilities for film critics. This book provides a fresh look at the director’s legacy, with critical ess
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34

Blatt, Ari J., and Edward Welch, eds. France in Flux. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.001.0001.

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The look and feel of metropolitan France has been a notable preoccupation of French literary and visual culture since the 1980s. Numerous writers, filmmakers and photographers have been drawn to articulate France’s contrasting spatial qualities, from infrastructural installations such as roads, rail lines and ports, to peri-urban residential developments and isolated rural enclaves. In doing so, they explore how the country’s acute sense of national identity has been both asserted and challenged in topographic terms. This wide-ranging collection of essays explores how the contemporary concern
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35

Bersani, Leo, and Ulysse Dutoit. Forming Couples: Godard's Contempt (Legenda, Special Lecture Series, 6) (Legenda, Special Lecture Series, 6). Legenda, 2004.

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