Relevant bibliographies by topics / 1970s French Cinema

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Academic literature on the topic '1970s French Cinema'

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Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "1970s French Cinema"

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 Finnish but the "new European cinema". This article doesn't aspire to give a full detailed analysis of Aki Kaurismaki's film career. Instead, by concentrating on two "polar" films made by this original director, it presents an attempt to line out the range of his creative work and some characteristics of his poetics

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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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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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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 of the young girl’s sexual initiation in the 1970s brings to the fore the significance of the idea of authenticity in relation to sex and cinema. Examining the representation of the ‘real young girl’ highlights the ideas of reflexivity and creativity attached to the existentialist notion of authenticity. This article aims to show that the young girl stands as a metaphor for Breillat’s auteurist approach to challenging existing filmic conventions.

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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 academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.

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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 English theatre tradition, and in this article Derek Paget examines the contribution to that style of a seminal work on design – Léon Moussinac'sThe New Movement in the Theatreof 1931. Although he was also important as a theorist of the emerging cinema, Moussinac's chief influence was as a transmitter of ideas in the theatre, and in the following article Derek Paget argues that his book offered the Manchester-based group insights into European radical left theatre unavailable to them in any other way. Moussinac thus helped Theatre Workshop to become a ‘Trojan horse’ for radical theatricality in the post-war years, while his design ideas were to sustain the Workshop throughout its period of major creativity and influence. Derek Paget worked in the early 1970s on Joan Littlewood's last productions at Stratford East, and he wrote onOh What a Lovely Warin NTQ 23 (1990). He is now Reader in Drama at Worcester College of Higher Education.

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Barker, Anthony. "On Not Being Porn: Intimacy and the Sexually Explicit Art Film." Text Matters, no. 3 (November 1, 2013): 186–202. http://dx.doi.org/10.2478/texmat-2013-0034.

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Since the mid-twentieth century, we have passed from a time where sexual frankness was actively obstructed by censorship and industry self-regulation to an age when pornography is circulated freely and is fairly ubiquitous on the Internet. Attitudes to sexually explicit material have accordingly changed a great deal in this time, but more at the level of the grounds on which it is objected to rather than through a general acceptance of it in the public sphere. Critical objections now tend to be political or aesthetic in nature rather than moralistic. Commercial cinema still seems wary of a frank exploration of sexuality, preferring to address it tangentially in genres such as the erotic thriller. In Europe, an art house canon of sexually explicit movies has formed, starting with Bertolucci’s Last Tango in Paris (1972) and the French-produced In the Realm of the Senses (1976). This article looks at the steps taken since the 1970s to challenge out-of-date taboos and yet at the same time differentiate the serious film about se Xfrom both pornography (operating in parallel with mainstream cinema but in its shadow) and the exploitation film. After reviewing the art film’s relationship with both hard and soft core, two recent films, Intimacy (2000) and 9 Songs (2005), are analyzed for their explicit content and for the way they articulate their ideas about sex through graphic depictions of sexual acts. Compulsive and/or claustrophobic unsimulated sexual behaviour is used as a way of asking probing questions of intimacy (and its filmability). This is shown to be a very different thing from the highly visual and staged satisfactions of pornography.

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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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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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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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Dissertations / Theses on the topic "1970s French Cinema"

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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Birchall, Bridget. "Patrick Dewaere and gender identity in Giscardian France (1974-1981)." Thesis, University of Exeter, 2007. http://hdl.handle.net/10036/49793.

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The aim of this thesis is to analyse the configuration of gender in Giscardian France (1974-1981), as it is represented through the life and work of Patrick Dewaere. To this end, this thesis has the following three correspondent aims: first, to document and analyse the socio-political and historical contexts that influenced the configuration of gender during this period. Second, to position Dewaere in relation to the broader context of 1970s French cinema primarily in the form of contemporary stars with whom he worked – and the filmic representation of gender during this period. Third, to map and explore Dewaere’s on and off-screen life against these sets of contexts. By looking at Dewaere’s life in this way this thesis will not only present a critical response to the research question as it concerns gender identity but it will also fill a small gap in the current dearth of work that exists on 1970s French film.

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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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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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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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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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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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Cousins, Jennie. "Unstitching the 1950s film costumes : hidden designers, hidden meanings." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/42353.

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This thesis showcases the work of four costume designers working within the genre of costume drama during the 1950s in France, namely Georges Annenkov, Rosine Delamare, Marcel Escoffier, and Antoine Mayo. In unstitching the cinematic wardrobes of these four designers, the ideological impact of the costumes that underpin this prolific yet undervalued genre are explored. Each designer’s costume is undressed through the identification of and subsequent methodological focus on their signature garment and/or design trademark. Thus the sartorial and cinematic significance of the corset, the crinoline, and accessories, is explored in order to determine an ideological pattern (based in each costumier’s individual design methodology) from which the fabric of this thesis may then be cut. In so doing, the way in which film costume speaks as an independent producer of cinematic meaning may then be uncovered. By viewing costume design as an autonomous ideological system, rather than a part of mise-en-scène subordinate to narrative, this fabric-centric enquiry consolidates Stella Bruzzi’s insightful exploration of film costume in Undressing Cinema, Clothing and Identity in the Movies (1997). Where this study diverges from previous work, however, is in its focus on specific costume designers to illustrate the way in which the costume of costume drama may operate as a complex component of cinematic signification in terms of gender, authenticity, status and power.

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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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Handyside, Fiona Jean. "Femininity, stardom and the everyday : a comparative account of the French female cinema star and the Hollywood female cinema star in French cultural discourses of the 1950s." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1694.

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This thesis explores the links between ideology, stardom, nationality and the everyday. It argues that as France underwent rapid economic expansion and technical modernisation in the 1950s, everyday life was subsequently rendered `unfamiliar' whilst simultaneously retaining its banal quotidian nature or `familiarity' - i.e. it became `uncanny'. It thus became an object of intense critical inquiry and there was also a resulting object-fetishisation within mass culture. The introductory chapter argues that in a climate of urbanisation, a new `leisure' culture and the explosion of the mass media (women's magazines, news and picture magazines such as L'Express and Paris-Match, American cinema, the launch of Cahiers du cinema, the beginnings of television) the American female star became newly visible in this `uncanny' everyday existence. Her fetishised body thus became a privileged space for expressing the processes of Americanisation and modernisation in France. Each empirical chapter takes an aspect of how modernity effects the body (cleanliness, spatial positioning, clothing) and then explores in detail the different ways these attributes were inflected in representations of the female American star in France and her French equivalent. My thesis thus engages with the ways in which cinematic representation effects the experience of and behaviour within everyday life, and how cultural discourses regulate both the individual and that national body. It closely examines Edgar Morin's writings on the mass media and also uses established theorists such as Henri Lefebvre in a new cinematic context. It also challenges the ways in which star studies generally concentrates on the star in their own culture in order to address stardom as an international phenomenon. It concludes that the presence of the female American star in France enabled the ideological management of the contradictory construction of femininity at this time.

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Books on the topic "1970s French Cinema"

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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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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Le roman du cinéma français: Années 1960-1970. Editions du Rocher, 2010.

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

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

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Book chapters on the topic "1970s French Cinema"

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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Smith, Alison. "May in the cinema." In French cinema in the 1970s. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141422.00006.

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Smith, Alison. "Front matter." In French cinema in the 1970s. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141422.00001.

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Smith, Alison. "Contents." In French cinema in the 1970s. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141422.00002.

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Smith, Alison. "List of illustrations." In French cinema in the 1970s. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526141422.00003.

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