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Books on the topic '1970s French Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

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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2

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

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3

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

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4

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

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5

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

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6

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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7

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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8

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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9

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

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10

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

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11

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

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12

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

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13

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

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14

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

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15

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

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16

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, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.

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17

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

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18

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

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19

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 many possible directions that sound cinema might have taken. We can additionally reconsider postwar French cinematic innovations, particularly those of the New Wave, as outgrowths and developments out of these earlier audiovisual experiments. Lastly, it encourages a nonteleological approach to examining moments of technological transition, which can help us better understand artistic responses to contemporary and future media transitions.

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20

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 technology head-on, articulating their responses to these questions both in writing and in their films. Music played an integral role in the debate. Lewis argues that debates about sound film had a powerful effect on French musical culture of the early 1930s, and that diverse French musical styles and traditions—from Les Six, to the opera house, to the popular music-hall—played a crucial role in shaping the cinematic soundscape. Filmmakers experimented with music’s role in sound cinema within a range of genres, including avant-garde surrealist cinema (Luis Buñuel and Jean Cocteau), recorded theater (Marcel Pagnol), early poetic realism (Jean Renoir, Jean Vigo), and the film musical (René Clair). Lewis’s analysis of the experiments undertaken in these few important years in French cinematic history encourages readers to challenge commonly held assumptions of how genres, media, and artistic forms relate to one another, and how these relationships are renegotiated during moments of technological change.

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21

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

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22

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

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23

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 study of Sirk is the first comprehensive critical overview of the filmmaker’s entire career, examining the ’50s melodramas for which he has been rightly acclaimed – films such as All That Heaven Allows, Written on the Wind, The Tarnished Angels and Imitation of Life – and instructively looking beyond them at his earlier work, which includes musicals, comedies, thrillers, war movies and westerns. Offering fresh insights into all of these films and situating them in the culture of their times, the book also incorporates extensive interview material drawn from a variety of sources, including the author’s own conversations with the director. Furthermore, it undertakes a detailed reconsideration of the generally overlooked novels and plays that served as sources for Sirk’s films, as well as providing a critical overview of previous Sirk commentary, from the time of the director’s “rediscovery” in the late 1960s to the present day.

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24

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 magic of musical playback technologies. This chapter traces the differences between the two versions of L’Atalante, arguing that Vigo’s fascination with mediated music, and the producers’ attempt to fit the film’s music into a commercially successful paradigm, reflects continuing concerns from both sides about how mediated sound would affect French cinema in the mid-1930s.

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25

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. The fractured family unit and patriarchal terror of Kubrick's film, alongside its allusions to issues of gender, race, and class, connect it to themes prevalent in horror cinema by the end of the 1970s, and are shown to offer a critique of American society that chimed with the era's political climate as well as its genre trends. The film's impact on horror cinema and broader pop culture is ever apparent, with homages in everything from Toy Story to American Horror Story. The Shining showed that popular, commercial horror films could be smart, artistic, and original.

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26

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 essays by both world-famous and early-career film scholars. It consists of four parts covering biographical, aesthetic, and philosophical aspects of Tarkovsky’s work as well as tracing his influence on other filmmakers. Part one, entitled ‘Backgrounds’ (chapters one to three), discusses extra-cinematic factors that influenced Tarkovsky’s cinema, such as his biography and theoretical statements. Part two, entitled ‘Film Method’ (chapters four to eight), examines Tarkovsky’s cinematic techniques, including his treatment of film genre, documentary style, temporality, landscape, and sound. Part three, ‘Theoretical Approaches’ (chapters nine to thirteen), discusses Tarkovsky’s work in the contexts of psychoanalytical, philosophical, and other theoretical perspectives. The fourth and final part of this volume, ‘Legacy’ (chapters fourteen and fifteen), is dedicated to Tarkovsky’s longstanding influence on such prominent auteurs as Andrei Zvyagintsev and Lars von Trier, who are often hailed as the heirs of the Russian master.

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27

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 with space in France has taken shape across a range of media, from recent cinema, documentary filmmaking and photographic projects through to television drama and contemporary fiction, and examines what it reveals about the state of the nation in a post-colonial and post-industrial age. The impact of global flows of capital, trade and migration can be mapped through attention to the specificities of place and topography. Investigation of liminal locations, from seaboard cities and abandoned industrial sites to refugee camps and peasant smallholdings, interrogates the assertion of a national territory (and thereby, a national identity) through the figure of the hexagon, and highlights the fluidities, instabilities and lines of flight which render it increasingly unsettled.

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