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The Classic French Cinema, 1930-1960
Colin Crisp re-evaluates the stylistic evolution of the classic French cinema, and represents the New Wave film-makers as its natural heirs rather than the mould-breakers they perceived themselves to be.
Genre, Myth, and Convention in the French Cinema, 1929-1939
This work identifies patterns in the fields of character, narrative, and setting in the French cinema of the early sound period.
Somebody Crunched Colin
Colin longs to be like the other flowers! Their sweet smell and bright colours are so appealing! But Colin is too crunchy-munchy and he doesn't belong where they grow... A story about the trouble litter can cause in the environment.
Cinema's Conversion to Sound
A groundbreaking look at the transition to sound in the French Cinema.
Eric Rohmer, Realist and Moralist
Here, for the first time in English, is a comprehensive analysis of Eric Rohmer's work. Rohmer, an enormously influential figure in shaping postwar realist film theory, and later in the development of the French New Wave, has been largely ignored in film studies, while others of the New Wave movements such as Truffaut and Godard have received considerable attention. In Eric Rohmer: Realist and Moralist, Crisp thoroughly examines Rohmer's films, performing structuralist, psychoanalytical, and ideological analyses of each. He further evaluates the connections between these films and Rohmer's realist film theory. Finally, Crisp's impressive study situates Rohmer's work ideologically within the historical context of French cinema after World War II, and gives due recognition to the achievements of this director within the realms of film theory and filmmaking.
Film Architecture and the Transnational Imagination
Summary: "Film Architecture and the Transnational Imagination presents for the first time a comparative study of European film set design in the late 1920s and 1930s; based on a wealth of designers ʼ drawings, film stills and archival documents, the book offers a new insight into the development and significance of trans-national artistic collaboration during this period. European cinema from the late 1920s to the late 1930s is famous for its attention to detail in terms of set design and visual effect. Focusing on developments in Britain, France, and Germany, Film Architecture and the Transnational Imagination: Set Design in 1930s European Cinema provides a comprehensive analysis of the practices, styles, and function of cinematic production design during this period, and its influence on subsequent filmmaking patterns."--Publisher description.
The French in Love and War
Describes developments in French popular culture between 1914 and 1945, and argues that the harsh times led to the emergence of images glorifying the common Frenchman in songs, film, and popular literature
Colonial Cinema and Imperial France, 1919–1939
In this book, the author uses such key colonial-era films as L'Atlantide and Pepe le Moko to document how the French cinema reflected the changing policies and values of French colonialism in the inter-war period.
Louis Malle
This is the first monograph on controversial French director Louis Malle to be published in English. Hugo Frey introduces Malle's work through a lucid analysis of his many masterpieces, including Le Feu Follet, Lacombe Lucien and Au revoir les enfants. He also traces the director's extended period of work in the USA, which resulted in powerful films such as Pretty Baby, Atlantic City USA and My Dinner with André. The book focuses on the most challenging aspects of Malle's oeuvre, his aesthetic vision, his youthful attraction to a form of right-wing pessimism, and his 1970s libertarianism. By rethinking Malle's portrayals of Nazi-occupied France, Frey demonstrates that he is of equal importance to contemporary historians as to film studies. This new appraisal is a nuanced study of an important film-maker, and a critical intervention in the debates which surround Malle's work.
Rogues, Romance, and Exoticism in French Cinema of the 1930s
Many popular French films of the 1930s captured the world and brought it into neighborhood cinemas for filmgoers who craved adventure. These films often served as visual postcards from the French empire, which enjoyed an unprecedented visibility in domestic popular culture between the world wars. But the public appetite for the exotic also transcended imperial borders. Exoticist films displayed landscapes and different that lay beyond the metropole, many of which were not subject to European rule. This broad conception of the exotic meant that French narrative cinema represented both colonial and non-colonial settings and populations, developing a coherent set of tropes that were shaped, yet...
