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Cover -- Series page -- Title page -- Copyright page -- List of Contributors -- Acknowledgments -- Editorial Practice -- Introduction -- Contexts: Institutional, Political, Cultural, and Economic -- Characteristics of Contemporary French Cinema -- Thematic Preoccupations -- Trends, Developments, and the Future of French Cinema -- Part I: Economic, Institutional, and Political Contexts -- 1 The Political Economy of French Cinema -- Changing Patterns of Cinema Attendance -- Cinematic Production and Its Outcomes -- The Competitiveness of French Cinema and Market Share -- Concentration and Diversity -- The Transformation of the Pool of Theaters -- The Future of Cinematic Theaters -- Conclusion -- 2 "Do We Have the Right to Exist?" French Cinema, Culture, and World Trade -- France -- Europe: Television Without Frontiers -- Cultural Exception: GATT -- Cultural Diversity: MAI/UNESCO -- Conclusion -- 3 Historicizing Contemporary French Blockbusters -- A Tentative Typology -- "Cultural Diversity" or Cultural Crisis? -- The Second Lang Plan (1989-1993) -- The Maturation of a "Forced Marriage" -- StudioCanal in the Crosshairs -- A New Oligopoly? -- Conclusion -- 4 Moving Between Screens -- The Role of Television in the Financing of Cinema -- Arte as a Stimulus and Sponsor of the New Cinema -- A Cinema of Collections -- Realism and Television -- The Revival of Documentary -- Films/Telefilms: A Play of Mirrors -- "Television Films" and Cinema Formatting -- From Comic Television to Comedy in Cinemas -- Cinema and Televised Series -- Conclusion -- 5 Contemporary Political Cinema -- Taking Stock: Working-Class Histories and the Exit from Fordism -- Outsiders and Victims, Ethics and Politics -- Political Effectiveness -- New Departures? -- 6 Diasporic and Postcolonial Cinema in France from the 1990s to the Present.
Auteur-led Productions and the "Return" of the Politicalin Diasporic and Postcolonial Cinema Since the 1990s -- From Margins to the Mainstream: Postcolonial Comedy and the Mainstreaming of Maghrebi-French Filmmakers in the 2000s -- Memorializing Colonial History: From Neo-Colonial to "Counter-Heritage" Cinema -- Return Narratives in Diasporic Cinema of the 2000s -- Beyond Ethnicity? Reconfiguring Difference in Diasporic Cinema -- Part II: Auteurs and Auteurism -- 7 The Veterans of the New Wave, Their Heirs, and Contemporary French Cinema -- The Extraordinary Fecundity of the Veterans of the New Wave -- The Quartet of Founding Members: Chabrol, Rohmer, Rivette, Godard -- The "Left Bank" of the New Wave -- A Problematical Legacy -- Epilogue: The Enduring Influence of Bresson and Pialat -- 8 Was There a Young French Cinema? -- To What Does the Term "Young French Cinema" Refer? -- The Arrival of the New Cinema -- The Counter-Attack of Positif -- Maturity and Defining Parameters -- New Appraisals, New Perspectives -- Consensus and Uncertainties -- What Remains of the Young French Cinema? -- 9 Auteurism, Personal Cinema, and the Fémis Generation -- Characteristics of Auteur Cinema -- Categories of Auteur Directors -- Auteurist Styles -- Cinephilia and Its Influence -- The Personal Dimension -- The Functions of Personal Cinema -- François Ozon: A Case Study -- Symbolic Figuration and Ozon's Personal Myth -- The Common Denominator of the Cinéma d'Auteur -- Part III: Genres, Cycles, and Cinematic Forms -- 10 Contemporary French Comedy as Social Laboratory -- Popular, Local, and Starved of Affection -- Bienvenue chez les Ch'tis, a Popular French Comedy -- Comic Misadventures of Masculinity -- The Emergence of Auteur Comedy -- The Ambivalence of Auteur Comedy: Variations on Personal Relationships and Middle-Class Navel-Gazing -- Conclusion.
11 Between Tradition and Innovation -- The Paradoxes of the American-style Thriller: Desire for a Globalized Cinema and Rejection of the "New Europe" -- The Invention of a New Type of Transnational Crime Film -- The "Last Combatant": Defending French Identity in the Context of Globalization -- The Ideological Conservatism and Pessimism of the "Old-style" Film Noir: Cinematic Nostalgia and Suffering Men -- The Perils of Modern Capitalism and Supermodernity in the Social Crime Film: Between Documentary and (Masculine) Tragedy -- Conclusion -- 12 Contemporary French Horror Cinema -- The Place of Genre in French Cinema -- French Horror since 2000 -- Horror and the Body -- Historicizing Horror -- The Cutting Edge of Horror Spectatorship -- 13 The Historical Film and Contemporary French Cinema -- Genre, the Historical Film, and Historical Thinking -- The New History Film -- From Heritage Film to Biopic -- The Historical Film: Moving into the Twenty-First Century -- Sensationalism: The Spectacle of History -- The Age of Individual Moral Choice -- Collective Memory and Twentieth-Century History -- The Biopic and the Cult of the Individual -- Conclusion -- 14 Major Stars, the Heritage Film, and Patrimonial Values in Contemporary French Cinema -- French Heritage Stars: Trends and Parameters -- Responding to the Contemporary Sense of Crisis -- Bridging the Gap between Auteur Cinema and Commercial Cinema -- A Reaction to the Disappearance of the Classical Star System -- Countering the Supremacy of Hollywood -- The Younger Generation and the Uncertain Future of the Heritage Solution -- 15 French Animated Cinema, 1990 to Present -- Michel Ocelot's Model for Feature Film Production -- Toward a "New Wave" of French Animation -- French Animation: 2011-2012 -- Conclusion -- 16 Contemporary French Documentary -- What is a Documentary?.
The Market for French Documentary: A Deceptive Renaissance? -- Recent French Documentaries: People, Subjects, Forms -- Webdocs and the Future of Documentary -- Part IV: Gender and Sexuality -- 17 Pitiful Men, Instrumental Women -- At the Top of the Box Office, a Gendered Asymmetry -- 1994: Women Become Visible, But at What Price? -- 2010: The Diversity of the Masculine, the Archaism of the Feminine -- Conclusion -- 18 French Women Directors Since the 1990s -- Women's Access to Filmmaking in France: Old and New Trends -- Agnès Varda and The New Wave -- The Generation of 1968 -- The Fémis Generation -- Generation 2000 -- An(other) French Exception? Auteur Cinema / Popular Cinema -- "New" Genres: Rom-Com -- Queens of Comedy: The "Millionnaires" of the 2000 s -- First Films: And After? -- Conclusions -- 19 Modes of Masculinity in Contemporary French Cinema -- Creating/ive Masculinity: The Artistic Agency of Emmanuel Mouret and Romain Duris -- In the Wilderness: Atavistic Masculinity and the Cinéma du corps -- The Refracted Man: Representations of Masculinity in Films by Women -- 20 Hors milieu -- Visible -- Invisible -- Relational -- Cruising and Disorientation -- Male Space -- Conclusion -- 21 Sexually Explicit French Cinema -- Romance (Catherine Breillat, 1999) -- Baise-moi (Virginie Despentes and Carolie Trinh Thi, 2000) -- Choses secrètes (Jean-Claude Brisseau, 2002) -- Conclusion -- Part V: Continuities and Emerging Trends -- 22 Booking Passages -- Adaptations of Historical Novels -- Adaptations of Foreign Novels -- Adaptations of Recent Best-Selling French Novels -- Conclusion -- 23 The Return of Theatricality in French Cinema of the 1990s -- The Theatrical "Revival" -- Context, Successes, Strategies: The Spectacular -- Value Judgments: The Mingling of Categories -- A Typology of Theatrical Films: Continuities and Innovations.
The Place of the Spectator: Identification and Detachment -- On "Pop" Cinema -- Stereotypes and Performance -- An American Approach? -- 24 Soundscapes of Loss -- The Contemporary Musical -- Songs in Contemporary Non-Musical Films: Theoretical and Methodological Issues -- French-Language Songs -- English-Language Songs -- The Final Song in French -- Conclusion -- 25 From the Margins to the Center -- Globalization and Diversity in Twenty-First Century French Stardom -- Ethnic Casting: From the Margins to the Center -- The "Trojan Horse" of Comedy -- Trans-Ethnic to Color-Blind Casting: Erasure or Integration? -- The Power of Global Celebrity Culture -- 26 An Invention with a Future -- Vintage Cinema -- Only the Cinema -- Animation Retro-Style -- Twilight Visions -- Conclusion -- 27 The Amateur in Cinema, in France, Since 1990 -- Familial Space: The End of the Family Film -- The Space of "Amateur Cinema" -- The Space of "Different" Cinema -- Amateur Cinema Recognized at Last: The Space of the Document -- The Space of Everyday Communication: Beyond "Cinema," the Language of Images and Sounds -- Conclusion -- List of Contemporary French Films Since 1990 Cited in this Volume -- Bibliography -- Index -- End User License Agreement.
A Companion to Contemporary French Cinema presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Features original contributions from top film scholars relating to all aspects of contemporary French cinema Includes new research on matters relating to the political economy of contemporary French cinema, developments in cinema policy, audience attendance, and the types, building, and renovation of theaters Utilizes groundbreaking research on cinema beyond the fiction film and the cinema-theater such as documentary, amateur, and digital filmmaking Contains an unusually large range of methodological approaches and perspectives, including those of genre, gender, auteur, industry, economic, star, postcolonial and psychoanalytic studies Includes essays by important French cinema scholars from France, the U.S., and New Zealand, many of whose work is here presented in English for the first time.
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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.