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Journal articles on the topic '1930s French Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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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

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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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 fro

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10

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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11

Turitsyn, Valeriy Nikolaevich, and Valery Nikolayevich Turitsyn. "Aki Kaurismaki: Two Films in Close-up(to the history of "New Finnish Cinema")." Journal of Flm Arts and Film Studies 2, no. 1 (2010): 27–40. http://dx.doi.org/10.17816/vgik2127-40.

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Since the French "nouvelle vague" of the late 1950s the world cinema has experienced a succession of "waves" which first rolled around some European countries and by blowing up cinematic traditions to this or that extent, led to the birth of the so-called "new cinema" (e.g. in Czechoslovakia or in Germany in the 1960s - 1970s). In Finland the similar process in its local variant occurred in the 1980s. For the most part it was connected with the Kaurismaki brothers' films, primarily with the works of the younger brother, Aki. By the early 1990s he became one of the renowned masters of not only

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12

Nevin, Barry. "Le(s) Visage(s) de Garbo: Negotiating Discourses of Authorship and Stardom in Jacques Feyder's The Kiss (1929)." Nottingham French Studies 59, no. 1 (2020): 97–116. http://dx.doi.org/10.3366/nfs.2020.0274.

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This article examines The Kiss, émigré director Jacques Feyder's first Hollywood film, with two goals in mind. First, it considers the production and reception of the film, drawing on contemporary periodicals to illustrate Feyder's contribution to the film; second, drawing on Gilles Deleuze's conceptualisation of mirror images in cinema, it argues that The Kiss constitutes an important turning-point within Feyder's output as well as a key illustration of his authorial signature, looking towards the complex portrayals of women which feature in his most famous French films of the 1930s. Key to t

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13

McCann, Ben. "Colleen Kennedy-Karpat, Rogues, Romance, and Exoticism in French Cinema of the 1930s, Madison: Fairleigh Dickinson University Press, 2013, 215pp, $70.00, ISBN 9781611476132." Modern & Contemporary France 22, no. 1 (2013): 111–12. http://dx.doi.org/10.1080/09639489.2013.845149.

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14

Anderson, Laura. "Sonic ‘Detheatricalization’: Jean Cocteau, Film Music, and ‘Les Parents Terribles’." Music and Letters 100, no. 4 (2019): 654–84. http://dx.doi.org/10.1093/ml/gcz081.

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Abstract Jean Cocteau’s adaptation of his controversial play Les Parents terribles for the screen stands out in his oeuvre as an attempt to reconcile theatre and cinema. It also presented a challenge in preparing a soundscape for a work that did not have any music in its original form. Parents occupies a unique, Janus-like position in the history of French film music, as forward-looking in its anticipation of New Wave treatment of music as material as it is representative of the turn to adapting stage plays for the screen that started in the 1930s. Drawing on production sketchbooks and testimo

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15

Gimello-Mesplomb, Frédéric. "The economy of 1950s popular French cinema." Studies in French Cinema 6, no. 2 (2006): 141–50. http://dx.doi.org/10.1386/sfci.6.2.141/1.

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16

Powrie, Phil, and Geneviève Sellier. "Bibliography for French cinema in the 1950s." Studies in French Cinema 15, no. 1 (2015): 103–7. http://dx.doi.org/10.1080/14715880.2014.996452.

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17

Bloom, Michelle E. "The absent father of Sino-French cinema: contemporary Taiwanese cinema and 1950s French auteurs." Journal of Chinese Cinemas 8, no. 1 (2014): 37–56. http://dx.doi.org/10.1080/17508061.2013.875728.

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18

Powrie, P. "The French musical: swing and Big Bands in the cinema of the 1940s and 1950s." Screen 54, no. 2 (2013): 152–73. http://dx.doi.org/10.1093/screen/hjt003.

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19

Johnston, Cristina. "Representations of homosexuality in 1990s mainstream French cinema." Studies in French Cinema 2, no. 1 (2002): 23–31. http://dx.doi.org/10.1386/sfci.2.1.23.

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20

Bassan, Raphael, Gerard Courant, Christian Lebrat, and Dominique Noguez. "French experimental cinema: the richness of the 1970s." Studies in French Cinema 4, no. 3 (2004): 165–74. http://dx.doi.org/10.1386/sfci.4.3.165/0.

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21

Callahan, V. "Pierre Batcheff and Stardom in 1920s French Cinema." French Studies 65, no. 2 (2011): 265–66. http://dx.doi.org/10.1093/fs/knr003.

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22

Mazdon, Lucy. "Vulgar, Nasty and French: French Cinema in Britain in the 1950s." Journal of British Cinema and Television 7, no. 3 (2010): 421–38. http://dx.doi.org/10.3366/jbctv.2010.0105.

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23

Williams, Alan. ": The Classic French Cinema 1930-1960 . Colin Crisp." Film Quarterly 49, no. 1 (1995): 40–41. http://dx.doi.org/10.1525/fq.1995.49.1.04a00070.

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24

Genova, James E. "Cinema and the Struggle to (De)colonize the Mind in French/Francophone West Africa (1950s-1960s)." Journal of the Midwest Modern Language Association 39, no. 1 (2006): 50. http://dx.doi.org/10.2307/20464156.

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25

Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film

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26

Kosinova, Marina Ivanovna. "Film Distribution and Exhibition in Pre-Revolutionary Russia (1896-1907)." Journal of Flm Arts and Film Studies 5, no. 3 (2013): 6–21. http://dx.doi.org/10.17816/vgik536-21.

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The article deals with the so called “French Period” in the Russian cinema of the late 1800s and early 1900s and analyses the process of forming the national institute of distributors and theatre owners. It also pays attention to the problems of repertoire policy and promotion and accounts for the success of Russian pre-revolutionary cinema.

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27

Hayward, Susan. "Reviewing quality cinema: French costume drama of the 1950s." Studies in French Cinema 8, no. 3 (2008): 229–44. http://dx.doi.org/10.1386/sfc.8.3.229_1.

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28

Coladonato, Valerio. "‘Mon cher Fédérico’: Fellini and the Cannes Film Festival." Journal of Italian Cinema & Media Studies 9, no. 1 (2021): 117–32. http://dx.doi.org/10.1386/jicms_00054_1.

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Between the mid-1950s and the mid-1960s, the Cannes Film Festival contributed to the rise of Federico Fellini’s image as an internationally acclaimed Italian auteur. This article situates the relationship between the director and the festival within the respective cultural, industrial and historical contexts. First, it discusses the role of festival director Robert Favre Le Bret in selecting and promoting Italian auteur cinema. Then it focuses on how the system of co-production between Italy and France impacted Fellini’s work and the Festival’s embrace of his films. Finally, it examines how th

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29

Bowles, Brett. "The Politics of French and German Cinema, 1930-1945." Historical Reflections/Reflexions Historiques 35, no. 2 (2009): 1–2. http://dx.doi.org/10.3167/hrrh2009.350201.

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30

READER, K. "Review. The Classic French Cinema, 1930-1960. Crisp, Colin." French Studies 50, no. 2 (1996): 228. http://dx.doi.org/10.1093/fs/50.2.228-a.

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31

Routt, William D. "Review & Booknote: The Classic French Cinema, 1930–1960." Media Information Australia 73, no. 1 (1994): 114. http://dx.doi.org/10.1177/1329878x9407300127.

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32

Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.

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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans L

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33

Powrie, Phil. "Heritage, history and ‘new realism’: French cinema in the 1990s." Modern & Contemporary France 6, no. 4 (1998): 479–91. http://dx.doi.org/10.1080/09639489808456452.

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34

Coates, Jennifer. "Blurred Boundaries: Ethnofiction and Its Impact on Postwar Japanese Cinema." Arts 8, no. 1 (2019): 20. http://dx.doi.org/10.3390/arts8010020.

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This article explores the use of ethnofiction, a technique emerging from the field of visual anthropology, which blends documentary and fiction filmmaking for ethnographic purposes. From Imamura Shōhei’s A Man Vanishes (Ningen jōhatsu, 1967) to Hou Hsiao Hsien’s Cafe Lumieré (Kōhi jikō, 2003), Japanese cinema, including Japan-set and Japan-associated cinema, has employed ethnofiction filmmaking techniques to alternately exploit and circumvent the structural barriers to filmmaking found in everyday life. Yet the dominant understanding in Japanese visual ethnography positions ethnofiction as an

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35

Williams, Alan. "Review: The Classic French Cinema 1930-1960 by Colin Crisp." Film Quarterly 49, no. 1 (1995): 40–41. http://dx.doi.org/10.2307/1213493.

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36

Fotiade, R. "The Battle of the Sexes in French Cinema, 1930-1956." French History 29, no. 1 (2015): 129–31. http://dx.doi.org/10.1093/fh/cru135.

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37

Crisp, Colin G. "The Rediscovery of editing in the French Cinema, 1930-1945." Histoire & Mesure 2, no. 3 (1987): 199–214. http://dx.doi.org/10.3406/hism.1987.1331.

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38

Boyle, Claire. "The Battle of the Sexes in French Cinema, 1930–1956." French Studies 70, no. 2 (2016): 288.1–289. http://dx.doi.org/10.1093/fs/knw024.

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39

Hayward, S. "Richard Abel, The Cine Goes to Town: French Cinema 1896-1914; Colin Crisp, The Classic French Cinema, 1930-1960." Screen 36, no. 3 (1995): 292–96. http://dx.doi.org/10.1093/screen/36.3.292.

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40

Paget, Derek. "Theatre Workshop, Moussinac, and the European Connection." New Theatre Quarterly 11, no. 43 (1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.

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This article investigates the influence of a French communist writer on Joan Littlewood's Theatre Workshop. Joan Littlewood celebrated her eightieth birthday in 1994 – a year which also saw an ‘Arena’ programme about her life and the publication of her memoirJoan's Book. Critics and commentators are agreed that Littlewood was a charismatic director, her Theatre Workshop a ground-breaking company which in the late 1950s and early 1960s acquired an international reputation only matched later by the RSC. However, the company's distinctive style drew as much from a European as from a native Englis

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41

Meir, Christopher. "Global and local rhetorics at a public-facing private company: Studiocanal and French cinema." Contemporary French Civilization: Volume 46, Issue 3 46, no. 3 (2021): 309–27. http://dx.doi.org/10.3828/cfc.2021.19.

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This article utilizes Canal+’s film production and distribution subsidiary Studiocanal as a way to understand both companies’ impacts on French cinema since the formation of the subsidiary in the early 1990s. As such, the article is structured as a chronology and an analysis of the major films made in French and financed by Studiocanal in terms of their critical and popular reception. The article also examines the talent relationships underpinning this production and the trajectories of the various stars, writers, directors, and producers who worked on the films as well as the executives who o

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42

Aubert, Michelle. "Materials Issues in Film Archiving: A French Experience." MRS Bulletin 28, no. 7 (2003): 506–10. http://dx.doi.org/10.1557/mrs2003.147.

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AbstractThe following article is based on a presentation given as part of Symposium X—Frontiers of Materials Research on December 4, 2002, at the 2002 Materials Research Society Fall Meeting. The cinema is just over 100 years old. From the beginning of motion pictures in the mid-1890s, the materials used for films have been at the heart of cinema technology. The material first used was cellulose nitrate film—unrivaled in its mechanical, physical, and aesthetic qualities, and also dangerously flammable. In the 1950s, cellulose nitrate was replaced, for safety reasons, by cellulose triacetate. T

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43

Benis, Rita. "The origins of screenwriting practice and discourse in Portugal." Journal of Screenwriting 11, no. 1 (2020): 27–44. http://dx.doi.org/10.1386/josc_00011_1.

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Following previous works by Patrick C. Loughney, Isabelle Raynauld, Steven Maras, Ian Macdonald, Alain Carou and Steven Price on screenwriting’s historical development in national frameworks, this article proposes to examine Portuguese screenwriting historical culture in relation to its major external influences: French, Italian and American cinema. If it is true that American mainstream cinema and its screenwriting models are now hegemonic and increasingly present in Portuguese film culture, it is also true that Portugal had (and continues to have) a strong ‘author-oriented’ film tradition, f

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44

LeBlanc, Lauren. "French Cinema in the 1990s: Continuity and Difference (review)." L'Esprit Créateur 42, no. 1 (2002): 136. http://dx.doi.org/10.1353/esp.2010.0468.

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45

Sharpe, Mani. "Gender and the politics of decolonization in early 1960s French cinema." Journal of European Studies 49, no. 2 (2019): 163–83. http://dx.doi.org/10.1177/0047244119837478.

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In a recent monograph, Todd Shepard has implored us to examine the ways in ‘which the Algerian War modified the form and the content of debates surrounding contemporary sexuality in France’, from the nationalist revolution spearheaded by the FLN in Algeria, to the sexual paradigm shift of May ’68 (2017: 21). An important injunction, undoubtedly. But also an injunction that, as I will show, could also be inverted to examine how, in the world of cinema, the radicalization of identity politics catalysed by decolonization found itself similarly distorted by a tendency among male directors to imagi

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46

Boillat, Alain. "Perspectives on Cinema and Comics." European Comic Art 10, no. 1 (2017): 9–23. http://dx.doi.org/10.3167/eca.2017.100103.

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This article focuses on the relatively little-known editorial context of children’s French-language comics serials at a time when they constituted the main distribution channel of the bande dessinée medium (before the album became the dominant format), from the immediate post-war years to the mid-1950s. I examine the importance given to the adaptation of films into bande dessinée by studying the editorial strategy to which this practice of adaptation contributes (focusing on the magazine L’Intrépide [The daredevil], which, at the time, specialised in adaptation) and the narrative and figurativ

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47

Belot, Sophie. "Authenticity in A Real Young Girl (Catherine Breillat, 1976)." Film Studies 20, no. 1 (2019): 21–35. http://dx.doi.org/10.7227/fs.20.0002.

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In French cinema, representations of girls have often been associated with films made by women, as demonstrated by Carrie Tarr with Brigitte Rollet (2001). They claim that the young girl is the major cinematographic topic for a woman’s first film, and names, such as Céline Sciamma in the late 2000s, Diane Kurys and Catherine Breillat in the 1970s, substantiate this position. However, Breillat’s A Real Young Girl was different, as it attracted critics’ acerbic reception and was subsequently banned for its open depiction of a young girl’s sexual experiences. It is argued that Breillat’s images o

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48

Neupert, Richard. ": French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity . Phil Powrie." Film Quarterly 52, no. 4 (1999): 45–46. http://dx.doi.org/10.1525/fq.1999.52.4.04a00100.

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49

Smith, Alison. "The problems of immigration as shown in the French cinema of the 1970s." Modern & Contemporary France 3, no. 1 (1995): 41–50. http://dx.doi.org/10.1080/09639489508456215.

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50

Warehime, M. "POLITICS, SEX, AND FRENCH CINEMA IN THE 1990s: THE PLACE OF ARNAUD DESPLECHIN." French Studies 56, no. 1 (2002): 61–78. http://dx.doi.org/10.1093/fs/56.1.61.

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