A Companion to Contemporary French Cinema (CNCZ - Wiley Blackwell Companions to National Cinemas)
Language: English
Pages: 712
ISBN: 1444338994
Format: PDF / Kindle (mobi) / ePub
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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characterized both by the innovative power of language, as well as seriousness, rigor, and moral and political thematic ambition, has undoubtedly been surprised by the apparently paradoxical turn that the filmmaker’s work has taken since the release of I Want to Go Home in 1989. Produced by Marin Karmitz, the film is a tribute to the American cartoon, especially to the cartoonist Jules Feiffer, who wrote the screenplay for it. Despite having Gérard Depardieu as its star, the film was his biggest
varied from 46% to 92% according to the country concerned, with an average of 73%, while the share of European cinema in the United States always remained well below 5%, with this figure being inclusive of certain films that would have difficulty in concealing their explicitly Hollywood-style character.16 In this context, French cinema constitutes an exception because of the position it has succeeded 26 Laurent Creton 70 % 60 50 American films 40 French films 30 20 European films 10
new films.3 The temporary aid (initially, exclusively for short films) was renewed in 1953, and then received a more permanent status with the law introducing the now famous avance sur recettes under André Malraux in 1960.4 That model of support for the film industry formed the principal armature for government aid through the early 1980s. Though the avance sur recettes has become the most celebrated form of enlightened government aid, the avance actually accounted for a small percentage of
climaxes, narrative arcs) and a perspective that is both original and nuanced. Thus, television provides a good illustration of the way in which the link between cinema and literature is endlessly replayed in France, between a widely shared celebration of great figures (Hugo, Dumas, etc.) and the search for an audiovisual “writing” (with the “camera pen”) that borrows from literature the density and striking perspectives of the latter. In particular, the return of the “scenario” in cinema and
in France results from the combined effects of many different factors: filmmakers, producers, critics, festivals, cultural policies, the political economy, education in cinema at all levels in France, film theory, film art, funding arrangements, the network of theaters, the contractual agreements between cinema and television, and so on. Together, these elements constitute a system that, while not unique in the world, certainly provides an essential reference point, as well as a source of