Her books include Daniel Calparsoro (Manchester University Press, 2009), Pedro Almodóvar (Grant and Cutler, 2007) and Carmen on film: A Cultural History (with Phil Powrie, Chris Perriam and Bruce Babington, Indiana University Press, 2007). She is the author of Unstitching the film à costumes: Hidden Designers, Hidden Meanings (VDM Verlag, 2009).Īnn Davies is Senior Lecturer in Spanish at Newcastle University. She also works as a freelance costume designer for film and theatre. Jennie Cousins is a Lecturer in Critical, Contextual and Historical Studies at Plymouth College of Art, specializing in film and fashion studies. The still from Dans la vie is reproduced courtesy of Pyramide Films, with the kind permission of Philippe Faucon. No information was available regarding the authors or copyright holders of images from Les Enfants du paradis, Bel-ami, Les Misérables, La Bête humaine or L’Ennemi publique no 1. Images from Pierrot le fou and L’Année dernière à Marienbad (Georges Pierre) are reproduced with the permission of Laurence Pierre de Geyer De battre mon cœur s’est arrêté (Jean-Claude Lother and Why Not Productions) Casque d’or (Paris Films Coop and Speva Films) Mauvaise passe (Pathé Cinéma and Etienne George) Ma femme est une actrice (Renn Productions and Nathalie Eno) La Graine et le mulet (Pierre Collier) La Femme du boulanger (Roger Corbeau and Agence photographique de la RMN) Gueule d’amour (ACE Alliance Cinématographique Européenne) Sous les toits de Paris (Lazare Meerson). Every effort has been made to contact the authors of the images used in this publication. And of course, we would like to thank all our contributors for their enthusiasm for the project we have thoroughly enjoyed collaborating with everyone involved.Īll images are courtesy of the Bibliothèque du Film (BiFi), Paris, unless otherwise stated, and are reproduced with the kind permission of the authors, where known. We are grateful to Martin McKeand, Alex Nice and the French Department of Queen Mary University, London, in particular Sue Harris, for allowing us to publish Jill Forbes’s keynote address, ‘To the distant observer’. We would also like to thank Intellect for the cover images, and the Association for Studies in French Cinema for generously financing the images in the book. We are grateful to the Intellect team for supporting this project from the outset, and in particular to the editorial and design staff for their careful attention to detail. ContentsĬhapter 2: Pierrot le fou and Post-New Wave French CinemaĬhapter 3: National Cinemas and the Body PoliticĬhapter 4: Unfamiliar Places: ‘Heterospection’ and Recent French Films on ChildrenĬhapter 5: The Circular Ruins? Frontiers, Exile and the Nation in Renoir’s Le Crime de Monsieur LangeĬhapter 6: Beurz n the Hood: The Articulation of Beur and French Identities in Le Thé au harem d’Archimède and HexagoneĬhapter 7: Community, Nostalgia and the Spectacle of Masculinity: Jean Gabin Ginette VincendeauĬhapter 8: Asserting Text, Context and Intertext: Jill Forbes and French Film StudiesĬhapter 9: Jill Forbes: The Continued ConversationĬhapter 10: Political Threads and Material Memory: Mayo’s Wardrobe for Casque d’or (1952)Ĭhapter 11: ‘Une vraie famille Benetton’: Maternal Metaphors of Nation in Il y a longtemps que je t’aime (2008) – a Response to Susan HaywardĬhapter 12: Phil Powrie: French Film Studies as a Heterotopic FieldĬhapter 13: Men in Unfamiliar Places: A Response to Phil PowrieĬhapter 14: To Elicit and Elude: The Film Writing of Keith ReaderĬhapter 15: Sexuality (and Resnais): A Response to Keith ReaderĬhapter 16: Of Spaces and Difference in La Graine et le mulet (2007): A Dialogue with Carrie TarrĬhapter 17: Cinema, the Second Sex and Studies of French Women’s Films in the 2000sĬhapter 18: The Bafflement of Gabin and Raimu and the Breathlessness of Belmondo: A Dialogue with the Work of Ginette VincendeauĬhapter 21: Censoring French ‘Cinéma de qualité’ – Bel-Ami (1954/1957)Ĭhapter 22: Raymond Bernard’s Les Misérables (1934)Ĭhapter 23: Jewish-Arab Relations in French, Franco-Maghrebi and Maghrebi CinemasĬhapter 24: The Frenchness of French Cinema: The Language of National Identity, from the Regional to the Trans-nationalĬhapter 25: Four Decades of Teaching and Research in French Cinema Printed and bound by Gutenberg Press, Malta. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.Ī catalogue record for this book is available from the British Library. Intellect, The University of Chicago Press, 1427 E. Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
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