The French Cinema Book

2004 ed
ISBN: 978-1-84457-012-6
Verlag: Bloomsbury Publishing PLC

Buch, Englisch, 294 Seiten, Format (B × H): 171 mm x 234 mm, Gewicht: 626 g

?The French Cinema Book is an accessible and innovative survey of key topics in French cinema from the 1890s to the twenty-first century.

This multi-authored volume proposes new insights into familiar areas and sets out a fresh agenda for the study and appreciation of French cinema:

• Who are the men and women who have made French cinema happen?
• What is the business culture in which French cinema has evolved?
• How has technological change effected artistic and commercial innovation?
• What have been the most popular and the most experimental forms?
• What has French cinema shown us of France, its society, its citizens, its concerns?
• How has the spectator's experience of film-going changed in the last 100 years?
• How have debates about film reflected cinema's unique place in French culture?

The book combines historical context and background information with detailed discussion of case-studies, analysis of films, recommendations for further reading and online resources.

The French Cinema Book is addressed to all lovers of French cinema, students and teachers, specialists and fans.

Autoren/Hrsg.

Witt, Michael

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgeschichte
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmgattungen, Filmgenre

Inhaltsverzeichnis

Contents Acknowledgments Notes on Contributors General Introduction by Michael Temple and Michael Witt General Further Reading PART ONE: 1890-1930 Introduction: Hello Cinema! Michael Temple and Michael Witt 1. PEOPLE: The Men And Women Who Made French Cinema Richard Abel 2. BUSINESS: A Re-Examination of Key Milestones in the Development of the Industry Michelle Millar 3. TECHNOLOGY: The Drive to Mechanisation and Digitisation Alison McMahan 4. FORMS: The Shifting Boundaries of Art and Industry Ian Christie 5. REPRESENTATIONS: Mutability and Fixity in Early French Cinema Vicki Callahan 6. SPECTATORS: The Cinemising Process: Filmgoing in the Silent Era Elizabeth Ezra 7. DEBATES: Thinking About Cinema: First Waves Monica Dall'Asta Further Reading 1890-1930 PART TWO: 1930-1960 Introduction: Classicism and Conflict Michael Temple and Michael Witt 8. PEOPLE: Migration and Exile in the Classical Period Alastair Phillips 9. BUSINESS: Anarchy and Order in the Classic Cinema Industry Colin Crisp 10. TECHNOLOGY: Imported Technologies in French Film-Making Charles O'Brien 11. FORMS: The Art of Spectacle: The Aesthetics of Classical French Cinema Ginette Vincendeau 12. REPRESENTATIONS: The Geography and Topography of French Cinema Keith Reader 13. SPECTATORS: The Golden Age of Spectatorship Gregory Sims 14. DEBATES: Critical Debate and the Construction of Society Christopher Faulkner Further Reading 1930-1960 PART THREE: 1960-2004 Introduction: A New World Michael Temple and Michael Wit 15. PEOPLE: The Other Auteurs: Producers, Cinematographers, and Scriptwriters Alison Smith 16. BUSINESS: A Certain Idea of the Film Industry Laurent Creton and Anne Jäckel 17. TECHNOLOGY: From Images of the World to the World of Images Laurent Jullier and Lucy Mazdon 18. FORMS: For it is the Critical Faculty that Invents Fresh Forms Nicole Brenez 19. REPRESENTATIONS: Parisian Images and National Transformations Naomi Greene 20. SPECTATORS: The Decline, Fall, and Rebirth in Cinemagoing Sue Harris 21. DEBATES: The Exercise has been Useful, Monsieur Daney James Williams Further Reading 1960-2004 Selected On-Line Resources Further Reading on Films and Film People List of Illustrations Index

Über Autor(innen)

Michael Temple teaches French at Birkbeck College, London. He is the author of The Name of the Poet (1995), editor of Meetings with Mallarmé (1998), and co-editor of The Cinema Alone: Jean-Luc Godard 1985-2000 (2000), and is currently writing Jean Vigo for Manchester University Press.

Michael Witt teaches Cinema Studies at the University of Surrey Roehampton. He has published widely on French cinema, is co-editor of For Ever Godard (2004) and is currently writing Jean-Luc Godard, Cinema Historian for Indiana University Press.