![]() Forbes (1992) has chapters on less well-known directors, such as Allio and Garrel, for example Austin (1996) has a substantial chapter on the cinéma du look, an important but under-researched area of 1980s production and Powrie (1997) focuses on the 1980s through the lens of Gender Studies. In the post-New Wave period, there were histories that do not try to be all-encompassing, but select specific genres, directors or approaches. For the New Wave, there was Jeff Kline's absorbing work on intertextuality (Kline, 1992). For classic French cinema, there were two major volumes in the mid- to late 1990s (Andrew, 1995 Crisp, 1993). In silent cinema there was the ground-breaking work of Richard Abel (1984 1994), who has almost single-handedly put the earliest periods on the critical map. The interest of these volumes is that instead of mapping out a general history where individual films are lucky to get more than a few lines of text devoted to them (what one could characterise as the thumbnail approach), these works have critical agendas and develop new ways of thinking about periods of French cinema. Following on from Susan Hayward's rather different conceptualisation of the history of the French cinema in the opening volume of the Macmillan national cinema series she edits (Hayward, 1993), there were significant volumes in English focusing on specific periods. Where histories are concerned, there was Williams in English (1992) and, occasioned by the centenary of the cinema, two very large volumes in French (Billard, 1995 Frodon, 1995). The first two in particular have dominated academic work on the French cinema from the 1960s. Partly as a result of the gradual increase in numbers of courses on French cinema in universities, there was an accompanying increase in particular in general histories, auteur studies, compendia and single-film studies. ![]() At the same time, the late 1990s saw an explosion, not just in French cinema itself, with the advent of a new generation of young film-makers, as we outlined above in Chapter 1, but also in major books on French cinema in the UK and the USA, special issues of major journals (Screen and Nottingham French Studies, both in 1993 French Cultural Studies in 1996 Australian Journal of French Studies in 1999), and in the establishment of a new journal and association devoted entirely to French cinema in 2001, Studies in French Cinema. In the 1990s, French cinema, in academic and film distribution circles, joined the ranks of 'everything-that-isn't-Hollywood', nesting in the catch-all category of 'World Cinema'. Recycled woman and the postmodern aesthetic: Luc Besson's Nikita (1990) Susan Hayward 22.In this chapter, we will outline the types of academic work which have been produced on the French cinema, with a particular emphasis on work in the 1990s and beyond. Versions, verse and verve: Jean-Paul Rappeneau's Cyrano de Bergerac (1990) Julianne Pidduck 21. Beyond the gaze and into femme-filmecriture: Agnes Varda's Sans toit ni loi (1985) Susan Hayward 20. Representing the sexual impasse: Eric Rohmer's Les nuits de la pleine lune (1984) Berenice Reynaud 19. Maternal The legacies: Diane Kurys' Coup de foudre (1983) Carrie Tarr 18. Sex,Politics and Popular Culture: Bernard Blier's Les Valseuses (1973) Jill Forbes 16.The anti-carnival of collaboration: Louis Malle'sacombe Lucien (1974) H.R. Eye for Irony: Eric Rohmer's Ma nuit chez Maud (1969) Norman King 15. Mise-en-scence degree zero: Jean-Pierre Melville's Le Samourai (1967) Colin McAtrhur 14. The fall of the gods: Jean-Luc Godard's Le Mepris (1963) Jacques Aumont 13. 'It really makes you sick!': Jean-Luc Godard's About the souffle (1959) Michel Marie 12. ![]() No place for homosexuality: Marcel Carne's L'Air de Paris (1954) IRichard Dryer 10, The script of delinquency: Francois Truffaut's Les 400 coups (1959) Anne Gillian 11. Casques d'or, casquettes a cask of aging wine: Jacques Becker's Casque d'or (1952) Dudley Andrew 9. A breath of sea air: Jacques Tati's Les vacances de Monsieur Hulot (1952) Pierre Sorlin 8. The sacramentof writing: Robert Bresson's Le Journal d'un cure de campagne (1951) Keith Reader 7. ![]() Beneath the despair, the show goes on:Marcel Carne's Les Enfants du paradis (1943-45) Jean-Pierre Jeancolas 6. Poetic Realism as psychoanalytical ideological operation:Marcel Carne's Le Jour se leve (1939) Maureen Turim 5. the name of the father:Marcel Pagnol's 'trilogy' Marius (1931), Fanny (1932), Cesar (1936) Ginette Vincendeau 2.Paris, Arizona or The Redemption of Difference: Jean Renoir's Le Crime de Monsieur Lange (1935) Christopher Faulkner 3.The fleeing gaze: The fleeing gaze: Jean Renoir's La Bete humaine (1938) Michele Lagny 4. Introduction Susan Hayward and Ginette Vincendeau.
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