The article opens with a brief discussion of the cultural economy of cities. A framework for investigating this phenomenon is then proposed, paying special attention to the interconnections between the system of production, its geographic milieu and the logistics of distribution. An overview of the structure and logic of the French film industry is laid out in which the fragmentation of production activities and labor markets is stressed. The policy system governing the French film industry is described in (...) detail, and the special role of the CNC (Centre National de la Cinématographie) is highlighted. The industry is then shown to be deeply interwined with the urban milieu of Paris, both in terms of its locational structure and its cultural dynamics. The final major section of the article deals with issues of industrial survival and competitiveness in the new global economy. It is suggested that French film policy needs to shift from a posture of defensive support of the industry to a more clearly articulated and aggressive concern with rebuilding market share in both the domestic and international arenas. (shrink)

Bringing together original essays by French, British and American scholars, this collection explores the key role of gender and sexual politics in 20th-century French cinema.

The main publicity poster for Olivier Nakache’s and Eric Toledano’s recent film Intouchables (The Intouchables [2011]) features two men side-by-side, grinning ear-to-ear. The image is oddly difficult to interpret. For French cinema initiates, the contrast should be striking. Seated to the left is François Cluzet, long one of the France’s more versatile leading actors; huddled over him on the right is Omar Sy, a French-born comedian of Senegalese and Mauritanian descent who, prior to playing this role, was (...) largely unknown to the French public. Those unfamiliar with the actors will note, at the very least, their different attire; Cluzet’s patterned ascot and Sy’s green hooded sweatshirt signal clear class .. (shrink)

Studies in French Cinema, Volume 1 Number 1 Bristol: Intellect Press, 2001. ISSN 1471-5880.

This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war (...) France. Four, Bazin remains blind to the misogynistic dimension of post-war French cinema, with its tendency to culpabilize women for the national disgrace of the Occupation. Ultimately, Bazin's newspaper reviewing represents a more socially aware vision of cinema than that promoted by more specialized cinema journals, yet his criticism remains caught within the gender ideology of his time. (shrink)

Over the past twenty years, in France, as elsewhere in Europe, cinema has produced an increasing number of films that engage with the thematics of immigration (both legal and illegal) and represent the living and working conditions of first-generation immigrants. In France, such films have also tended to focus on questions of citizenship and nationality as they pertain to the French-born descendants of immigrants, whose presence within the nation demands a reconsideration of previously fixed notions of community, origins (...) and national identity. Though certainly not limited to the perspective of one ethnic minority, the majority of these French films, from militant immigrant cinema in the 1970s, to so-called beur .. (shrink)

In 2010, two years after the global financial collapse that triggered the worst economic crisis since the Great Depression of the 1930s, the best-selling publication in France was not that year’s Prix Goncourt,1 Michel Houellebecq’s La carte et le territoire (The Map and the Territory), a novel published by Flammarion, one of Paris’s leading publishing houses. That honor went to Indignez-vous! (Time for Outrage!), a 32-page pamphlet authored by 93-year-old Stéphane Hessel, a former hero of the French Resistance, a (...) concentration camp survivor and career diplomat. Hessel’s booklet, issued by Indigène Editions, a small provincial publisher, has since sold over 2 million copies, reaching an estimated 10 million .. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

Conversion to sound at the close of the 1920s ushered in a decade-long period of French film production that standard accounts by Alan Williams and Colin Crisp cast as all but unparalleled in aesthetic impact and thematic scope. Despite chronic underfunding and structural disarray in an industry that never fully rebounded after the Great War, French audiences enjoyed a robust domestic culture of stars, screenwriters, and directors whose concern for richly detailed narratives and moody “atmospherics” laid the foundations (...) for the classic French cinema. Key to an understanding of this period that saw René Clair, Jean Renoir, and Julien Duvivier rise to international prominence alongside—or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Looking Beyond Neoliberalism: French and Fran-cophone Belgian Cinema and the Crisis by Martin O’ShaughnessyJoseph MaiO’Shaughnessy, Martin. Looking Beyond Neoliberalism: French and Fran-cophone Belgian Cinema and the Crisis. Edinburgh University Press, 2022. 224pp.Martin O’Shaughnessy has devoted a career to scouring the intersections of politics, identity, and contemporary French cinema, perhaps most notably in his 2007 book, The New Face of Political Filmmaking. In (...) a review in Cineaste, Jonathan Buchsbaum called that book “theoretically sophisticated” and a “powerful and eloquent polemic for retaining a class analysis of film” (90). According to Buchsbaum, The New Face asked “the central question of how films can formulate political critiques after the collapse of the grand leftist narrative(s) of the twentieth century” (89). O’Shaughnessy’s new book, Looking Beyond Neoliberalism: French and Francophone Belgian Cinema and the Crisis, is a major publication with similar qualities of theoretical breadth, and is also once again inspired by cinematic attempts to envision different political futures.Things have not gotten better since 2007. The “crisis” of O’Shaughnessy’s title does not refer narrowly to the financial meltdown of 2007–2008 and subsequent government-funded bailouts. Crisis is not an event requiring austerity (disguised as “courageous decision-making”), but in many senses the essence of global neoliberalism, or as the frequently cited Maurizio Lazzarato puts it: “the form of government of contemporary capitalism” (qtd. in O’Shaughnessy 5). The 2008 crisis has, if anything, made this form of government ever more visible, and ever more punitive and essential to Western industrial societies. With a mastery of the philosophical critique of neoliberalism, O’Shaughnessy unpacks how the logic of crisis habituates the subject to self-entrepreneurship, debt, social and political isolation, conformism, precarity, social violence, and nihilism.The book looks at these issues through cinematic works by French and Belgian Francophone filmmakers, ranging from popular auteurs like Jacques Audiard and Luc Besson to more critically political filmmakers like the Dardenne brothers or Laurent Cantet. O’Shaughnessy is not looking only for thematic representations; he also seeks new answers in films that respond to, flee, or resist neoliberalism. Like the Occupy or Nuit Debout movements, much of this cinema seeks to reformulate identifications and cultivate political resistance, though O’Shaughnessy warns us early on [End Page 117] that we are not in a place “where there is a cohesive political cinema” (9). There is, therefore, a refreshingly normative concern throughout the book: the most valuable films seek paths toward social encounter, re-assemblage of identity categories, lives that are not defined through debt, and a future in which crisis and precarity do not structure action.The first three chapters focus on the “crisis of the neoliberal subject” (6). Chapter 1 approaches the work of Jacques Audiard, who has at times been read as reinforcing regressive gender roles and at other times embracing a rather more disruptive masculinity. Bringing the lens of the neoliberal subject to bear on films like Un prophète (2009) or Un héros très discret (1996), O’Shaughnessy emphasizes Audiard’s use of crime-genre filmmaking as a parallel to capitalism, and the genre hero as a corollary to the bourgeois entrepreneurial male subjectivity it fosters and puts into crisis. Desperately, Audiard’s masculine subjects rehearse, recreate, and “perfect” themselves, initiate profitable collaboration, self-define through flexibility, improvisation, and competence, in ways that are hallmarks of, but do not surpass, an internalized neoliberal subjectivity.Chapter 2 examines how the mechanisms of debt influence characters’ beliefs and actions. What does it mean, in works by the Dardenne brothers, Laurent Cantet, and Mia Hansen-Løve, to be “man in debt” (54)? O’Shaughnessy explores debt’s temporality as it limits the possibilities of the future by tying actions to the obligations of repayment. In Le silence de Lorna (2010), Lorna is enrolled in a logic of indebtedness in exchange for papers to cross borders, at the expense of another human, Claudy. Caught in an “overarching tension between systemic violence and an ethical commitment to the Other” (45), she seeks a way out in increasingly irrational attempts to escape. Vincent, the protagonist of L’emploi du temps... (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s (...) iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

_France on Film: Reflections on Popular French Cinema_ Edited by Lucy Mazdon London: Wallflower Press, 2001 ISBN 1 903364-08-6 pbk 180 pp.

One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, (...) contemporary French cinema offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. (shrink)

The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. "Kirikou and the Sorceress", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The "Trio from Belleville", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume in (...) the world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen. (shrink)

In recent years, there has been a resurgent interest in the philosophical dimension of cultural products—cinema, in particular. Rather than analyzing the production, dissemination and reception of particular films through literary, cultural, sociological or psychological theories, one considers film as “doing the work” of theory/philosophy. This essay argues that cinema's possibility of being/becoming philosophy will emerge only if one remains open to the inconsistencies of the cinematic text, rather than seek to posit a mythical point of origin that (...) reduces representation to its effective functionality, thereby announcing the death of thinking. Following the ways in which Adorno and Horkheimer indicate the deep ontological significance of the myth of origin involved in the logic of Enlightenment, this essay attempts to offer responsibility, vigilance and hesitation as alternative ways of engaging with thought. Cinema, this essay finally claims, can offer a model with which thinking, as philosophy proper, can be recovered from its mythical origin. (shrink)

During the last three decades, Europe has undergone numerous periods of economic and political instability. The process of European integration, once hailed as a beacon of a peaceful co-operation between many, if not all, European nations appears to be stagnating, giving rise to notoriously more frequent manifestations of xenophobic violence, nationalism and right-wing fundamentalism. This book evaluates the portrayal of the migrant Other in selected examples of contemporary French and German cinema from the period 1989-2020 in the context (...) of the ongoing debate about European identity and its socio-political significance. It focuses on the films of some of Europe's most prolific contemporary filmmakers, such as Michael Haneke, Claire Denis and Fatih Akin. It examines cinema's importance not only in reference to various theoretical evaluations of the concept of European identity, but also many notable events that have taken place in Europe in the last thirty years, such as the collapse of the 'Iron Curtain' in 1989, the historical expansion of the European Union in 2004, the migration 'crisis' of 2015, 'Brexit' and the war in Ukraine. (shrink)

How does Cahiers du cinéma react to the emergence of the French New Wave? What are the strategies implemented by the magazine when confronted to the risk that the politique des auteurs could end up as a politique de l’amitié? While other magazines –such as Positif or Présence du cinéma– focus themselves to attack the new cineastes, Éric Rohmer strengthens his preference for clacisism and avoids to make references to modern films. His refusal to any engagement with contemporaneity creates (...) a source of friction within the magazine and, in the end, Rohmer would be replaced by Jacques Rivette. A new cicle begins: the new chief editor believes that modern cinema demands modern forms of criticism and that it is not a question of extracting meaning from films anymore but, instead, now it is all about suspending it. From the perpective of historical criticism, this article tries to reconstruct the different stages of that conflictive transitional moment. My intention is to show that a certain notion of modern cinema and a new conception of the image emerge as a result of that controversy. (shrink)

_French Cinema in the 1990s: Continuity and Difference_ Edited by Phil Powrie Oxford: Oxford University Press, 1999 ISBN 0-19-815958-7 286 pp.

Machine generated contents note: -- Preface to the English edition \ Translators' Introduction \Preface to the French Edition \ 1. Theses on Movement: First Commentary onBergson \ 2. Frame and Short, Framing and Cutting \ 3. Montage \ 4. TheMovement-Image and its Three Varieties: Second Commentary on Bergson \ 5. ThePerception-Image \ 6. The Affection-Image Face and Close-Up \ 7. TheAffection-Image: Qualities, Powers, Any-Space-Whatevers \ 8. From Affect toAction: The Impulse Image \ 9. The Action-Image: The Large Form \ (...) 10. The Action-Image:The Small Form \ 11. Figures, or the Transformation of Forms \ 12. The Crisisof the Action-Image \ Glossary \ Notes \ Index. (shrink)

The range of topics in this volume covers a multitude of historical periods and topics, which in turn figure in the new media environments of contemporary life. These include discussions of the Aristotelian and classical models of a "good life" that inform animated fairy tales today, 1930s French and Hollywood films which respond to the dire need for productive human relationships in a turbulent decade, the polemical positions of black film criticism through the lens of James Baldwin's work, a (...) discussion of contemporary filmic quests for happiness, the challenges for women filmmakers today in mapping the values of their own world, landscapes of austerity and poverty in the cinematic homelands today, the scientific, psychological, and philosophical base for human value, and the shifting media frames of modern society and selves. (shrink)

ABSTRACT I here read the Iranian film Hit the Road through the eyes of the French philosopher Alain Badiou. In doing so, I hope to illuminate the triadic link between cinema, philosophy and paideia (ethical-political education). To explore, I adopt a philosophical methodology with the double ambition to reveal the latent pedagogies of the film and to acquire insights on the distinctiveness of a Badiouan conception of cinema. My questions are to what degree and in what ways (...) cinematic experience can be said to promote ethical-political formation. I start by portraying Badiou’s cinematic philosophy. Next, I expose how Hit the Road confronts us with a hidden real. Third, I close the paper by considering Badiou’s idea of cinema as an influential form of ethical-political education. (shrink)

When it was first published in French in 1980, The Ordinary Man of Cinema signaled a shift from the French film criticism of the 1960s to a new breed of film philosophy that disregarded the semiotics and post-structuralism of the preceding decades. Schefer describes the schizophrenic subjectivity the cinema offers us: the film as a work projected without memory, viewed by (and thereby lived by) a subject scarred and shaped by memory. The Ordinary Man of (...) class='Hi'>Cinema delineates the phenomenology of movie-going and the fleeting, impalpable zone in which an individuals personal memory confronts the cinemas ideological images to create a new way of thinking. It is also a book replete with mummies and vampires, tyrants and prostitutes, murderers and freaksfigures that are fundamental to Schefers conception of the cinema, because the worlds that cinema traverses (our worlds, interior and exterior) are worlds of pain, unconscious desire, decay, repressed violence, and the endless mystery of the body. Fear and pleasure breed monsters, and such are what Schefers emblematic "ordinary man" seeks and encounters when engaging in the disordering of the ordinary that the movie theater offers him. Among other things, Schefer considers "The Gods" in 31 brief essays on film stills and "The Criminal Life" with reflections on spectatorship and autobiography. While Schefers book has long been standard reading in French film scholarship, until now it has been something of a missing link to the field (and more broadly, French theory) in English. It is one of the building blocks of more widely known and read translations of Gilles Deleuze (who cited this book as an influence on his own cinema books) and Jacques Rancière. (shrink)

Varda's longtime moniker, "Grandmother" of the French New Wave, conjures the image of a "little old woman, pleasantly plump and talkative"–a description that Varda herself uses in Les Plages d'Agnès. In The Cinema of Agnès Varda: Resistance and Eclecticism, Delphine Bénézet contends that this persona is merely one of many alter egos that Varda puts forward in her attempt to debunk "the myth of the all mighty male auteur". Furthermore, Bénézet's exploration of Varda's oeuvre reveals that the filmmaker's (...) work has always been anything but antiquated. Since her first feature film, La Pointe Courte, Varda's innovative approach to filmmaking has been a testament to the limitless possibilities of the... (shrink)

In this paper, I use two films—Les Statues MeurrentAussi directed by Resnais and Marker and Sans Soleil as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of (...) class='Hi'>French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave. (shrink)

This book is an innovative attempt by a leading film theorist to locate cinema--from the earliest experiments, via the work of Federico Fellini, Alfred Hitchcock, Roberto Rossellini, Orson Welles and many others, to contemporary European art cinema-- alongside philosophy, painting, geography and travel in terms of a history of modernism. The focal point of Promised Lands is a vast collection of geographical and ethnographic films and photographs made around the world, The Archives of the Planet . Based in (...) Paris, the collection was amassed by a French banker, Albert Kahn, in the 1900s, and for a time it was run by the Professor of Geography at the College de France, Jean Brunhes. The collection is, for Sam Rohdie, an astonishing instance of French modernism comparable to the philosophical work of Henri Bergson. Promised Lands weaves a narrative of speculative and analytical fragments around the rich resources of the collection. Each chapter is named for a real or imaginary place and the sum is a study that, in its interdisciplinary range and its attempt to integrate personal and cultural history, redefines modernism as a shifting geography of artforms, desires, and practices of understanding. (shrink)

Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the (...) field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction. (shrink)

_Film Worlds_ unpacks the significance of the "worlds" that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than "fictional worlds" and (...) "storyworlds" on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, _Film Worlds_ extends Nelson Goodman's analytic account of symbolic and artistic "worldmaking" to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. (shrink)

Shares articles and interviews from the influential French film magazine about the New Wave, American cinema and the future of film making.

A review of Daniel Morgan, Late Godard and the Possibilities of Cinema (Berkeley, CA: University of California Press, 2013).

The title of this essay is not to be taken literally: I will not be making the case that Marseille is actually the last working class city in France. My title is a reference to Chris Marker’s 1993 film The Last Bolshevik (Le Tombeau d’Alexandre), a film about Alexander Medvedkin, one of the pioneers of early Soviet cinema. Medvedkin was the inspiration for the Groupe Medvedkine, a film collective founded by Chris Marker and made up of French militant (...) filmmakers who, in December 1967, decided to document the labor unrest that had erupted in factories near Besançon by making experimental films that involved the active participation of the workers themselves. Marker first met Medvedkin at a film festival in Leipzig .. (shrink)

In lieu of an abstract, here is the essay's opening paragraph: Marguerite Duras prefaces the second edition of Le navire night , from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light into (...) the darkness to go back and see? The only seeing through cinema that was possible, she continues, was to film the failure, the disaster of the film. But how does one film the failure of realizing a film adaptation of a written text, which itself was transcribed from an oral re-telling of a story, which itself was adapted from memory? The event already took place – writing, “this history here” –, leaving cinema to film what never took place, namely, the film itself. As Jean-Luc Godard confirms in a chapter titled Seul le cinéma in Histoire du cinéma, not only in the form of his project as a whole but also more explicitly in one shot that positions two close-up photographs of his face with the sound of Paul Hindemith’s “Funeral Music” and this text: “Faire une description précise de ce qui n’a jamais eu lieu est le travail de l’historien.” Describing the rise of the film Le navire night from its disastrous death, Duras writes: “On a mis la caméra à l’envers et on a filmé ce qui entrait dedans, de la nuit, de l’air, des projecteurs, des routes, des visages aussi.” The camera turned upside-down, or in the other sense, inside-out, Duras films the entrance of the exterior, a sort of a Levinasian visage. The question no longer is one of having the right but of the duty to re-write history, as is insinuated by the reference to “The Critic as Artist” written across one of the photographs mentioned above, which is again a gesture of Godard’s positioning himself as the critic whose role Oscar Wilde defined: “The one duty we owe to history is to rewrite it.”. (shrink)

In 1978, just before his return to the international stage, the world’s most renowned art-film director Jean-Luc Godard improvised a series of fourteen one-hour talks at Concordia University in Montreal. These talks, part of a projected video history of cinema, were published in French in 1980. In this definitive English-language volume, translator Timothy Barnard has worked from the original footage to carefully revise and correct the faulty French transcription. The result is the most extensive and revealing account (...) of Godard’s own work, his methods, and his critical opinions. Never has Godard been as loquacious, lucid, and disarmingly frank as he is here. This volume, by the wittiest and most idiosyncratic genius cinema has known and available for the first time in English, is certain to become one of the great classics of film literature. Distributed exclusively worldwide, excluding Canada, by Rutgers University Press for caboose books, Montreal. (shrink)

Antoine de Baecque proposes a new historiography of cinema, exploring film as a visual archive of the twentieth century, as well as history's imprint on the cinematic image. Whether portraying events that occurred in the past or stories unfolding before their eyes, certain twentieth-century filmmakers used a particular mise-en-scène to give form to history, becoming in the process historians themselves. Historical events, in turn, irrupted into cinema. This double movement, which de Baecque terms the "cinematographic form of history," (...) disrupts the very material of film, much like historical events disturb the narrative of human progress. De Baecque defines, locates, and interprets cinematographic forms in seven distinct bodies of cinema: 1950s modern cinema and its conjuring of the morbid trauma of war; French New Wave and its style, which became the negative imprint of the malaise felt by young contemporaries of the Algerian War; post-Communist Russian films, or the "de-modern" works of _catastroika_; contemporary Hollywood films that attach themselves to the master fiction of 9/11; the characteristic _mise en forme_ of filmmaker Sacha Guitry, who, in _Si_ _Versailles m'était conté, filmed French history from inside its chateau; the work of Jean-Luc Godard, who evoked history through his own museum memory of the twentieth century; and the achievements of Peter Watkins, the British filmmaker who reported on history like a war correspondent. De Baecque's introduction clearly lays out his theoretical framework, a profoundly brilliant conceptualization of the many ways cinema and history relate._. (shrink)

This collection of essays, on French and francophone prose, poetry, drama, visual art, cinema and thought, assesses guilt and shame in relation to structures of ...