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Journal articles on the topic '1970s French Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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8

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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9

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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10

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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11

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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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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13

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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14

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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15

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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16

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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17

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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18

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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19

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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20

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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21

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 the French press constructed the image of Fellini as an ‘intellectual celebrity’. By grounding the analysis in documents from the Cinémathèque Française (French Film Archive), the Archivio Centrale dello Stato (Central State Archive) in Rome, and other primary sources from both Italy and France, this article provides a synergic view of the conditions for the emergence of Fellini’s public image through the Cannes Film Festival.

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22

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 Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."

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23

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 imported genre, reaching Japan through Jean Rouch and French cinema-verité. Blending visual analysis of Imamura and Hou’s ethnofiction films with an auto-ethnographic account of my own experience of four years of visual anthropology in Kansai, I interrogate the organizational barriers constructed around geographical perception and genre definition to argue for ethnofiction as a filmmaking technique that simultaneously emerged in French cinema-verité and Japanese feature filmmaking of the 1960s. Blurring the boundaries between Japanese, French, and East Asian co-production films, and between documentary and fiction genres, allows us to understand ethnofiction as a truly global innovation, with certain regional specificities.

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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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25

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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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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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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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 oversaw them. Finally, the article analyzes the corporate rhetoric that was advanced by both Studiocanal and Canal+ over the years to position itself in the French and international markets. Synthesizing these branches of the analysis and noting certain cyclical patterns, the article argues that Studiocanal’s relationship to French cinema has been complex and changeable, at times limited in favor of pursuing the international market, at times devoting ample amounts of rhetoric and resources to pursuing success in its home market. Moreover, the article demonstrates that the company’s production activities have helped to mold a generation of French filmmakers and industry executives who have in turn gone on to influential careers. Looking forward, the article concludes by arguing that by virtue of its size and scale as a producer and distributor, Studiocanal will always be a significant player in French cinema.

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29

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. Today, polyester film is widely used; nevertheless, the fact remains that the majority of the world's film heritage exists on two main material formats, cellulose nitrate and cellulose triacetate, both of which decay over time. Film archivists are engaged in a race to save historic film footage from being lost forever. Digital technology, now widely used in cinema, does not resolve the issue of the long-term preservation of films because digital formats are still evolving. This article discusses the materials used in motion-picture technology over the years, the mechanisms active in film decomposition, and international efforts to preserve and restore historic films.

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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, focused on artistic processes, clearly present in its screenwriting culture. Such characteristics developed first under the influence of French and Italian silent cinema, through the contribution of foreign film directors who worked in Portugal and established schools there. Also important were the cinematographic experiences (film and writing) made by modernist poets during the silent film period. Finally, the powerful influence of the French Politique des Auteurs (1950s) also helped to configure Portuguese screenwriting culture. To contextualize the Portuguese experience specifically, I explore the origins of screenwriting practice and discourse in Portugal, addressing the many political, historical and financial aspects that impacted the Portuguese perception of screenwriting craft from an early stage.

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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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32

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 imagine the war through the lens of their own androcentric preoccupations, fantasies and anxieties: anxieties that, in the case of Jacques Rivette’s Paris nous appartient (1961), Louis Malle’s Le Feu Follet (1963), and Jacques Dupont’s Les Distractions (1960), ricochet erratically between masochistic and misogynistic tales of impotence and carnal retribution; anxieties that subtly twist the dynamics of the decolonial debate into strange shapes, places and meanings.

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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 figurative aspects of the adapters’ approaches. I show in particular how bandes dessinées are inscribed in genres that structure the periodical publications, where these were previously established in the cinematographic domain such as the swashbuckler and the western. The processes of condensation or amplification of the narrative, as well as the use of the feuilleton, are at the centre of the case studies.

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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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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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36

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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37

Kuisel, Richard. "The Fernandel Factor: The Rivalry between the French and American Cinema in the 1950s." Yale French Studies, no. 98 (2000): 119. http://dx.doi.org/10.2307/2903231.

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38

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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Costa de Beauregard, Raphaëlle. "Fake Paintings, Fake Clues, and True Crimes in French Cinema (1911-1914)." Kronoscope 15, no. 2 (2015): 230–45. http://dx.doi.org/10.1163/15685241-12341337.

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A major consequence of the capture of images by photography was a reevaluation of idealist philosophy on behalf of material philosophy. But with the projection of images in movement, the capture of a much more immaterial essence of this reality was foregrounded. Two French films of the period when cinema had fully developed its narrative strategies are examined in this paper: a short burlesque, Jean Durand’sLe Rembrandt de la rue Lepic(Gaumont, 1911), and a serial of five films, Louis Feuillade’sFantômas(Gaumont, 1913-1914). The two films rely on the instability of images for the dramatic progression of plots that are devoted to the pursuit of an “authentic” image, whether a painting or a fingerprint, itself understood as the reliable “trace” of the materiality of the real world. This paper examines the various meanings of the word “trace” in these films within the cultural context of the 1910s and the prominent questioning of time issues.

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Marie, Laurent. "The Oak That Wished It Were a Reed: Georges Sadoul and André Bazin." Paragraph 36, no. 1 (2013): 101–17. http://dx.doi.org/10.3366/para.2013.0080.

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The two leading French film writers and critics of the post-war period were André Bazin and Georges Sadoul. Their relationship has often been reduced to the controversy that followed the publication of Bazin's article on ‘Soviet Cinema and the Myth of Stalin’ in 1950. While the ensuing polemic undeniably drove them apart, the prevailing critical emphasis on this episode fails to do justice to either their critical work or its wider context. Indeed, the heartfelt tribute Sadoul paid to Bazin after the latter's death testifies to a much richer and more complex relationship between the two critics. Drawing on both published and archival sources, this article sets out to throw a new and more comprehensive light on this historically critical relationship and its context by examining the reactions of both critics to the ‘Stalin Myth’ controversy, post-war American cinema, and the form and content debate of the later 1940s.

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Hoyer, Dirk. "Dimitri Kirsanoff: The Elusive Estonian." Baltic Screen Media Review 4, no. 1 (2016): 4–14. http://dx.doi.org/10.1515/bsmr-2017-0001.

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Abstract This article investigates the contradictory information about the Estonian identity of the filmmaker Dimitri Kirsanoff (1899–1957) and examines the archival material that provides final confirmation of his birth and childhood in Tartu. In addition, Kirsanoff’s substantial contribution to silent cinema and his significance in the context of French avant-garde impressionism are discussed. Kirsanoff’s most acclaimed film Ménilmontant (France, 1926) was released 90 years ago. It is still frequently screened all over the world, due to its experimental montage techniques, the early use of handheld cameras, its innovative use of actual locations and the actors’ performances that still resonate with contemporary audiences. Ménilmontant is also influential because of its elliptical narrative style. However, with the advent of sound film, Kirsanoff’s career declined because the reorganisation of the film industry limited the creative freedom he enjoyed in the 1920s. This article attempts to contribute to a wider acknowledgement of Dimitri Kirsanoff’s Estonian origins, his films and his important place in the world cinema.

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Neupert, Richard. "Review: French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity by Phil Powrie." Film Quarterly 52, no. 4 (1999): 45–46. http://dx.doi.org/10.2307/1213778.

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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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Lehin, Barbara. "Giving a voice to the ethnic minorities in 1980s French and British cinemas." Studies in European Cinema 2, no. 3 (2005): 213–25. http://dx.doi.org/10.1386/seci.2.3.213/1.

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Krauss, Dalton. "Can Comedy Change the World?: Jean Yanne and French Comic Cinema of the 1970's." L'Esprit Créateur 51, no. 3 (2011): 104–17. http://dx.doi.org/10.1353/esp.2011.0041.

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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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Fee, Annie. "Les Midinettes Révolutionnaires." Feminist Media Histories 3, no. 4 (2017): 162–94. http://dx.doi.org/10.1525/fmh.2017.3.4.162.

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In their quest for official and cultural recognition, French First Wave critics such as Louis Delluc discursively positioned the working-class female cinemagoer as emblematic of the sorry state of unsophisticated French film audiences. From this discourse came the stereotype of the starry-eyed midinette, which is still used by French film critics to describe lowbrow film taste and an overly emotional mode of spectatorship. This essay attempts to reconstruct the social practice of cinemagoing among the midinettes of 1920s working-class Paris by focusing on the female fans of the serial Les deux gamines (1921). Both a critique of intellectual cinephilia as a cultural discourse and a geographically specific retrieval of the multiple ways in which socioeconomically and culturally marginalized audiences interacted with the cinema, this historical study repositions young women from working-class neighborhoods as key actors in film culture—fans, but also social activists. Through a study of disparate, unpublished archival material, including fan letters, film programs, and announcements in the leftist press, this essay attends to the social realities of a number of female film fans in Montmartre and grounds their spectatorship spatially within their local communities.

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Marshall, B. "Susan Hayward and Luc Besson, French Film Directors Series; Phil Powrie, French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity." Screen 39, no. 4 (1998): 416–20. http://dx.doi.org/10.1093/screen/39.4.416.

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McGregor, Brynne. "In the Presence of Other Bodies: Ear-Opening Internal Sound in Nicolas Philiberts In the Land of the Deaf." Film Matters 10, no. 2 (2019): 33–41. http://dx.doi.org/10.1386/fm_00005_1.

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Silence: for hearing individuals, it is difficult to find and even more difficult to imagine. Even in situations devoid of human speech, sound is unavoidable. Relative silence is often found in rooms with creaks in the floors or trains in the distance. One of the last places someone might look for silence is in film, and since the late 1920s this would be logical. There are rare moments in cinema where music and dialogue are completely absent; both storytelling tools are so readily used. In French documentarian Nicolas Philiberts In the Land of the Deaf (1992), silence is loud. As Philibert captures insightful interviews and slice-of-life moments, dialogue is refused as the principal storytelling instrument. In a suitable anomaly, the culture of deaf persons is filmed and edited with sonic consciousness.

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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 this analysis is how Feyder mobilizes mirrors to confront spectators with their own collusion in the construction of Greta Garbo's star persona in her films and portraits, and to open broader debates regarding the intersection between authorship and star personae.

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