Symposium: A Quarterly Journal in Modern Literatures, 1999
... 1966: 118-32. Chabre'. Notringham French Srudies 6.2 (October 1967): 77-86. Bloom, Mich... more ... 1966: 118-32. Chabre'. Notringham French Srudies 6.2 (October 1967): 77-86. Bloom, Michelle. Staging the Execution of Louis XVI at Madame Tussaud's: Villiers de I'lsle-Catalepsie. Trisor de la hngue Franqaise. ... v-xi. Page 13. Bloom SYMPOSIUM 81 Todorov, Tzvetan. ...
Symposium: A Quarterly Journal in Modern Literatures, 1995
MICHELLE E. BLOOM STAGING THE EXECUTION OF LOUIS XVI AT MADAME TUSSAUD'S: VILLIERS DE L&... more MICHELLE E. BLOOM STAGING THE EXECUTION OF LOUIS XVI AT MADAME TUSSAUD'S: VILLIERS DE L'ISLE-ADAM'S.
... Truffaut's Julien Davenne, the protagonist whom the director himself plays in The Green ... more ... Truffaut's Julien Davenne, the protagonist whom the director himself plays in The Green Room, does not try to start over again following the death of his beloved Julie and he does go to the cemetery, both more than a decade after her death. ...
Page 1. whose work spanned decades, yet there is no sense given of a larger career context. So we... more Page 1. whose work spanned decades, yet there is no sense given of a larger career context. So we get one-and-a-half pages on A Canterbury Tale and a bit about The Life and Death of Colonel Blimp (1943), but no mention ...
... 2009). As Cecilia, Baye co-stars with Truffaut as Julien Davenne several years later in La ch... more ... 2009). As Cecilia, Baye co-stars with Truffaut as Julien Davenne several years later in La chambre verte/The Green Room (1978). Thus, her presence at the banquet table in Face evokes this late Truffaut fiction about death. ...
In contemporary Sino-French cinema, father characters who are dead, long lost or geographically d... more In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence. Despite the possibility of an orientalist dynamic, Taiwanese auteurs not only pay homage to their French ‘fathers’, and especially New Waver Franc ̧ois Truffaut, but also strike out on their own, contributing innovative work to contemporary transnational cinemas.
Although cinema has been transnational since its inception, contemporary Sino-French film exempli... more Although cinema has been transnational since its inception, contemporary Sino-French film exemplifies the cinematic hybridity of the contemporary age of globalization. The Sino-French comprises crossover between the Sinophone and the Francophone. However, Taiwanese and mainland helmed films since 2000 provide the focus here and connect with metropolitan France and more specifically Paris, not the broader French speaking world. Contemporary Sino-French Cinemas calls for the movement away from Orientalism and Occidentalism, myths and stereotypes. Through the tropes of métissage, intertextuality, the makeover, translation and imitation, the Sinophone connects with "Frenchness." The first three tropes provide optics for examining films by Taiwanese-connected directors Cheng Yu-chieh, Tsai Ming-liang and Hou Hsiao-hsien in Part I, focused on self-reflexive arthouse work influenced by the French New Wave and other French precursors. Part 2 analyzes Chinese helmed films by Dai Sijie, Emily Tang Xiaobai and Dai Sijie which critique mainland socioeconomics and politics through the portrayal of France. Increasing the national, cultural and linguistic diversity of the Francophone dimension of the Sino-French and calling attention to Sinophone-directed film with French connections expands the scope of Francophone studies and Sinophone Studies, as the Sino-French contributes to transnational film studies.
Symposium: A Quarterly Journal in Modern Literatures, 1999
... 1966: 118-32. Chabre'. Notringham French Srudies 6.2 (October 1967): 77-86. Bloom, Mich... more ... 1966: 118-32. Chabre'. Notringham French Srudies 6.2 (October 1967): 77-86. Bloom, Michelle. Staging the Execution of Louis XVI at Madame Tussaud's: Villiers de I'lsle-Catalepsie. Trisor de la hngue Franqaise. ... v-xi. Page 13. Bloom SYMPOSIUM 81 Todorov, Tzvetan. ...
Symposium: A Quarterly Journal in Modern Literatures, 1995
MICHELLE E. BLOOM STAGING THE EXECUTION OF LOUIS XVI AT MADAME TUSSAUD'S: VILLIERS DE L&... more MICHELLE E. BLOOM STAGING THE EXECUTION OF LOUIS XVI AT MADAME TUSSAUD'S: VILLIERS DE L'ISLE-ADAM'S.
... Truffaut's Julien Davenne, the protagonist whom the director himself plays in The Green ... more ... Truffaut's Julien Davenne, the protagonist whom the director himself plays in The Green Room, does not try to start over again following the death of his beloved Julie and he does go to the cemetery, both more than a decade after her death. ...
Page 1. whose work spanned decades, yet there is no sense given of a larger career context. So we... more Page 1. whose work spanned decades, yet there is no sense given of a larger career context. So we get one-and-a-half pages on A Canterbury Tale and a bit about The Life and Death of Colonel Blimp (1943), but no mention ...
... 2009). As Cecilia, Baye co-stars with Truffaut as Julien Davenne several years later in La ch... more ... 2009). As Cecilia, Baye co-stars with Truffaut as Julien Davenne several years later in La chambre verte/The Green Room (1978). Thus, her presence at the banquet table in Face evokes this late Truffaut fiction about death. ...
In contemporary Sino-French cinema, father characters who are dead, long lost or geographically d... more In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence. Despite the possibility of an orientalist dynamic, Taiwanese auteurs not only pay homage to their French ‘fathers’, and especially New Waver Franc ̧ois Truffaut, but also strike out on their own, contributing innovative work to contemporary transnational cinemas.
Although cinema has been transnational since its inception, contemporary Sino-French film exempli... more Although cinema has been transnational since its inception, contemporary Sino-French film exemplifies the cinematic hybridity of the contemporary age of globalization. The Sino-French comprises crossover between the Sinophone and the Francophone. However, Taiwanese and mainland helmed films since 2000 provide the focus here and connect with metropolitan France and more specifically Paris, not the broader French speaking world. Contemporary Sino-French Cinemas calls for the movement away from Orientalism and Occidentalism, myths and stereotypes. Through the tropes of métissage, intertextuality, the makeover, translation and imitation, the Sinophone connects with "Frenchness." The first three tropes provide optics for examining films by Taiwanese-connected directors Cheng Yu-chieh, Tsai Ming-liang and Hou Hsiao-hsien in Part I, focused on self-reflexive arthouse work influenced by the French New Wave and other French precursors. Part 2 analyzes Chinese helmed films by Dai Sijie, Emily Tang Xiaobai and Dai Sijie which critique mainland socioeconomics and politics through the portrayal of France. Increasing the national, cultural and linguistic diversity of the Francophone dimension of the Sino-French and calling attention to Sinophone-directed film with French connections expands the scope of Francophone studies and Sinophone Studies, as the Sino-French contributes to transnational film studies.
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