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French B Movies
In the impoverished outskirts of French cities, known as the banlieues, minority communities are turning to American culture, history, and theory to make their own voices, cultures, and histories visible. Filmmakers have followed suit, turning to Hollywood genre conventions to challenge notions of identity, belonging, and marginalization in mainstream French film. French B Movies proposes that French banlieue films, far from being a fringe genre, offer a privileged site from which to understand the current state of the French film industry in an age of globalization. This gritty style appears in popular arthouse films such as Mathieu Kassovitz's La Haine and Bande de filles (Girlhood) along ...
Americanism, Media and the Politics of Culture in 1930s France
First book to focus on Americanism and its consideration of French film and literature The book is organized around individual figures, texts, and films, making it easy to adopt for individual units in courses. The book is written in clear, accessible, and jargon-free language. The book brings a new and innovative transatlantic perspective to 1930s French culture. The books offers new perspectives on important figures that we thought we knew well. The book mixes cultural history with the analysis of individual films and novels in a way that is engaging to read.
Americanism, Media and the Politics of Culture in 1930s France
Gangsters, aviators, hard-boiled detectives, gunslingers, jazz and images of the American metropolis were all an inextricable part of the cultural landscape of interwar France. While the French 1930s have long been understood as profoundly anti-American, this book shows how a young, up-and-coming generation of 1930s French writers and filmmakers approached American culture with admiration as well as criticism. For some, the imaginary America that circulated through Hollywood films, newspaper reports, radio programming and translated fiction represented the society of the future, while for others it embodied a dire threat to French identity. This book brings an innovative transatlantic perspective to 1930s French culture, focusing on several of the most famous figures from the 1930s – including Marcel Carné, Louis-Ferdinand Céline, Pierre Drieu la Rochelle, Julien Duvivier, André Malraux, Jean Renoir and Jean-Paul Sartre – to track the ways in which they sought to reinterpret the political and social dimensions of modernism for mass audiences via an imaginary America.
French B Movies
In the impoverished outskirts of French cities, known as the banlieues, minority communities are turning to American culture, history, and theory to make their own voices, cultures, and histories visible. Filmmakers have followed suit, turning to Hollywood genre conventions to challenge notions of identity, belonging, and marginalization in mainstream French film. French B Movies proposes that French banlieue films, far from being a fringe genre, offer a privileged site from which to understand the current state of the French film industry in an age of globalization. This gritty style appears in popular arthouse films such as Mathieu Kassovitz's La Haine and Bande de filles (Girlhood) along ...
French Blockbusters
The digitised spectacles conjured by a word like 'blockbuster' may create a certain cognitive dissonance with received ideas about French cinema - long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic 'cultural exception' remains a forceful current to this day, this book shows how the onslaught of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. From English-language action vehicles like Valrian and the City of a Thousand Planets (Besson, 2017) to revisionist histor...
Is It French? Popular Postnational Screen Fiction from France
Zusammenfassung: This book investigates the recently accelerated phenomenon of mainstream French film and serial television's remarkable popularity not only within but - more novelly for European audiovisual narratives - outside the domestic context. Treating changes that have taken place in France's production landscape during the mass rollout of global streaming platforms as revelatory of broader tendencies in media production and circulation in Europe and beyond, the collection explores emergent influential players (Omar Sy, Camille Cottin, Alexandre Aja and Fanny Herrero), companies such as Netflix and Gaumont, and new genres, identities and representations on screen. It thus draws together a body of new research by international experts in French and European media production to analyse popular film and television series from France through a postnational lens with regards to both economic and institutional norms and to culture as a whole
A Sudden Frenzy
In Renaissance Italy there existed a rich interplay between two cultural practices frequently regarded as entirely separate and mutually antagonistic: the humanistic study of the ancient world and ancient literature, and the oral and improvisational performance of poetry, which constituted one of the most popular forms of entertainment. A Sudden Frenzy explores the development and impact of these Renaissance practices of improvisation and oral poetry. James K. Coleman shows how the confluence of humanist culture and the art of oral poetry resulted in an extraordinary turn toward improvisation and spontaneity that profoundly influenced poetry, music, and politics. By examining the culture of improvisation, this book reveals the ways in which Renaissance thinkers transcended cultural dichotomies, both in theory and in practice. Drawing on a wide range of sources, including letters, poetry, visual art, and philosophical texts, A Sudden Frenzy reveals the far-reaching and sometimes surprising ways that these phenomena shaped cultural developments in the Italian Renaissance and beyond.
The Lure of the Image
The Lure of the Image shows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and camera—and between camera and film world. With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies, The Lure of the Image exposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.
