French New Wave Research Papers

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan... more

Dhaka Tribune

https://www.dhakatribune.com/showtime/2019/04/01/agnes-varda-a-veritable-institution

Bookmark
Download
- by Nazia Adnin
- •
- 2
  French New Wave, Agnes Varda

"I demand that a film express either the joy of making cinema or the agony of making cinema. I am not at all interested in anything in between."-Francois Truffaut. The French new wave which can be marked in history by the late 1950's,... more

Bookmark
Download
- by Khansa Rahim
- •
- 5
  Film Studies, French New Wave, Film Review, New Wave Cinema

Borrowing from film and filmmaking styles, techniques and devices that manipulate spectators ’ attention and experience, this paper proposes an approach to inform design of games and gameplay to manipulate player’s focus of attention and... more

Bookmark
Download
- by Peichi Chung
- •
- 18
  Film Theory, Serious Games, Game Design, Machinima

An article in Marathi about the French New Wave - how it came about and what its novelty was. Previously published in Roopwani, a journal about cinema by the Prabhat Film Society, Mumbai.

Bookmark
Download
- by Abhijeet Ranadive
- •
- 6
  French Cinema, Modernity, Cinema, France

In: Poslanje filologa, ur. C. Pavlović, T. Bogdan, 2008. Proučavanje filma često se temeljilo na dosezima i metodologijama drugih znanosti – od psihologije (primjerice, psihologije percepcije i kognitivne psihologije), sociologije i... more

Bookmark
Download
- by Nikica Gilic
- •
- 15
  Avant-Garde Cinema, Film Studies, Film Theory, Film Analysis

This article explores an overlooked aspect of Agnès Varda’s pioneering La Pointe Courte (1954)—its function as a literary adaptation. La Pointe Courte was significant to the French New Wave not only in its use of American literary... more

Bookmark
Download
- by Lauren Du Graf
- •
- 9
  Film Studies, Adaptation, Film History, William Faulkner

Bookmark
Download
- by Daniel Biltereyst
- •
- 5
  Film Studies, Film Analysis, Film Censorship, French New Wave

Bookmark
Download
- by Valerio Carando
- •
- 22
  Film Studies, Film Theory, French Cinema, Film Analysis

Bookmark
Download
- by Andrew Marzoni
- •
- 13
  Art History, Film Studies, Film Theory, Literature and cinema

Oxford Bibliographies

Bookmark
Download
- by Maria Flood
- •
- 8
  Film Studies, French Cinema, Film History, Marguerite Duras

Bookmark
Download
- by Daniela Capano
- •
- 7
  Art History, Film Studies, Film Analysis, Jean Renoir

“Godard changed the movies as much as the American masters he grew up on: Welles, Hawks, Hitchcock, and the rest. He is as original as Picass —but unlike Picasso, he has been denied the biography he has always deserved. This is it. Just... more

Bookmark
Download
- by Stergios Clincher
- •
- 13
  French Cinema, Literature and cinema, History of Art, French art

Bookmark
Download
- by David Scott Diffrient
- •
- 19
  Film Studies, French Cinema, European Cinema, Film Analysis

Bookmark
Download
- by Kristi McKim
- •
- 8
  Film Studies, French Cinema, Film Analysis, Film History

Bookmark
Download
- by James Rowlins
- •
- 3
  Philosophy, French New Wave, Existentialism

Bookmark
Download
- by Sherab Rabzyor Yolmo
- •
- 4
  Film Studies, French New Wave, Agnes Varda, Cahiers du cinema

New Wave film remains the most important cinematic movement in post-war France. However, feminist film theorists argue that these films and their critical discourse promote a cultural hegemony of gender asymmetry commonly referred to as... more

Bookmark
Download
- by Abby Lockett
- •
- 55
  History, Cultural History, Sociology, Cultural Studies

Les rapports de Chris Marker à la Nouvelle Vague seront complexes, car tout opposait ce proche de Bazin aux cinéastes des Cahiers du cinéma, tant sur le fond que sur la forme. Des liens entre Marker et Godard se constitueront au moment du... more

Bookmark
Download
- by Vincent Lowy
- •
- 7
  Film Studies, French New Wave, Film and Media Studies, May 68

PDF z całą książką. Abstract: Ophelism should be defined as a visual code. It emerged at the turn of 18th century, when images of young female body immersed in water and/or flowers begun to function as the representation of the mystery... more

PDF z całą książką.
Abstract:
Ophelism should be defined as a visual code. It emerged at the turn of 18th century, when images of young female body immersed in water and/or flowers begun to function as the representation of the mystery of femininity. Usually, 19th century Ophelism have been treated as examples of misogynist convictions, framing femininity as madness, untamed sexuality or unreasonable and passive nature. At the same time opposite meanings have been attributed to Ophelic images present in contemporary feminist art. The book "Ophelism. Romantic Reappropriations, Feminist Interventions" origins in an intuition that neither was 19th century Ophelism a homogenous, univocal phenomenon nor its 20th century embodiments should be seen in this way either. Providing case studies of works of literature, painting, opera, film, and performance, the author discusses representations of female (at times, effeminate) body, where the motives of water and/or flowers unsettle traditional narratives, questioning gender dualism, opposition between nature and culture, hierarchical orders.
---------------------
Ofelizm nie jest pojęciem analogicznym do hamletyzmu. Oznacza rodzaj wizualnego języka, który wyłania się na przełomie XVIII i XIX wieku i rozwija niezależnie od teatralnych reprezentacji, za podstawę mając nie sceny z udziałem Ofelii, lecz przedstawienia jej śmierci. Przyjęło się uważać, że te wizerunki ciała młodej kobiety w otoczeniu kwiatów i/lub wody wcielają mizoginiczne wyobrażenia, które kobiecość ujmują w kategoriach szaleństwa, nieujarzmionej seksualności, przynależności do sfery natury. Książka "Ofelizm. Romantyczne zawłaszczenia, feministyczne interwencje" wyrosła z przekonania, że w ofelizmie od początku istniało i nadal istnieje kilka nurtów. Tematem zamieszczonych w niej studiów są przedstawienia kobiecego (niekiedy ukobieconego) ciała, w których woda i kwiaty służą rozsadzeniu tradycyjnych narracji i zakwestionowaniu dualizmu płci, opozycji natury i kultury, porządku opartego na hierarchiach. Omówienia wybranych tekstów, obrazów i inscenizacji tworzą tu alternatywną historię ofelizmu, w której stawką jest pytanie o jego wywrotowy potencjał.

Bookmark
Download
- by Katarzyna Czeczot
- •
- 20
  Gender Studies, Queer Studies, Visual Studies, Feminist Theory

Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Luc Godard, François Truffaut, Alain Resnais, Claude Chabrol, Agnes Varda and others, critics and scholars alike have devoted unprecedented... more

Bookmark
Download
- by Sourapravo Chatterjee
- •
- 14
  French Literature, Media Studies, Film Studies, Film Theory

Bookmark
Download
- by Simon Frisch
- •
- 18
  Film Studies, French Cinema, Film History, Film and History

VIDEOLOGY is part 1 of a critique of "realism" in film, visual art & literature. From Nam June Paik’s experimental TV to the subversive cinema of Alejandro Jodorowsky, Miike Takashi & Leos Carax; from Naked Lunch to the Cyberfeminist... more

This book chapter considers how Godard re-adapts the thematic concerns of his 1963 film Contempt in his later projects, including Soft and Hard (1985), and Histoire(s) du cinéma (1988-98). The chapter considers Godard as a prolific,... more

Bookmark
Download
- by Rick Warner
- •
- 7
  Film Adaptation, Intertextuality, Montage, Adaptation (Film Studies)

This dissertation develops a comprehensive study of the influence exerted by Hollywood “genre” cinema, in particular the B-series film noir, on the French New Wave. Initially, I ask if this relationship is not the principle identifying... more

This dissertation develops a comprehensive study of the influence exerted by Hollywood “genre” cinema, in particular the B-series film noir, on the French New Wave. Initially, I ask if this relationship is not the principle identifying criterion of New Wave cinema. It is, after all, a matter of record that Hollywood’s cheaply-made B-movies were championed by the critics of Cahiers du cinéma as permitting authorial self-expression and as encouraging cinematic innovation and evolution. Genre cinema subsequently remained a preoccupation for the New Wave auteurs, who made no fewer than fifty gangster and crime films between 1958 and 1965, including many of the New Wave’s most iconic films.

I therefore embark on a comparative study that considers in great detail the New Wave’s reprisal and adaptation of the film noir format, with my analyses focused not only on character and plot conventions, but also on the tropes, aesthetics and filmmaking production techniques common to both cinemas. I show how the two cinemas cross-pollinate, especially given that the French polar itself exerted influence on Hollywood film noir and that French critics were among the first to identify the new tendency towards making film noir in postwar Hollywood. I also draw a number of important conclusions. Primarily, I show that while the New Wave borrows extensively from Hollywood aesthetics, its manipulation and subversion of American film noir conventions are also at the very heart of the politique des auteurs. This politique is characterized by a profound dissatisfaction with their era, the Americanization of French society, France’s involvement in Algeria, and a reticence about the impending sexual liberation movement.

I contextualize my project within the current debate in film and French studies regarding the legacy of the New Wave, particularly in light of a tendency to cast doubt on the movement’s involvement with “the political,” as well as to dispute the New Wave’s status as a defining moment in French cinema.

Bookmark
Download
- by James Rowlins
- •
- 11
  Film Noir, Political aesthetics, Jean-Pierre Melville, Eric Rohmer

The controversial, influential themes of often high-art, yet low-budget films such as Cat People (1942) and The Naked Kiss (1964) got their freedom from the long line of less quality, but just as controversial exploitation films like... more

Cette étude du film de Jean-Luc Godard "Le Mépris" se fonde sur une analyse comparée du "scénario" conservé à la Cinémathèque française et du manuscrit autographe publié en 2013. Elle le réinscrit aussi dans son contexte de création et de... more

Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. War-ner incisively reconsiders the defining traits and legacies of this... more

Bookmark
Download
- by Rick Warner
- •
- 36
  Perception, Film Studies, French Cinema, European Cinema

‘The Ethics of Realism may be too tame a title for the rambunctious scholarship this book contains. Lúcia Nagib has a sharp eye for what, through her lens, become stupefying motifs and moments within films that she just as sharply cuts... more

‘The Ethics of Realism may be too tame a title for the rambunctious scholarship this book contains. Lúcia Nagib has a sharp eye for what, through her lens, become stupefying motifs and moments within films that she just as sharply cuts out of the vast herd of movies. You can sense her pleasure at relaying to us the cinematic power she has found in cast-off ‘failures’ like I am Cuba or that she resuscitates in films we thought we knew , such as The400 Blows. Ultimately tying these to historical struggles of filmmakers and the societies they worked within, she does in fact make good on her title. This is a truly high-minded argument for cinema as the conscience of the past century. The films Nagib illuminates made and kept promises to the world they came from. This book honours the importance, not just the beauty of cinematic art.’
Dudley Andrew

‘Lúcia Nagib’s book World Cinema and the Ethics of Realism injects new vitality and energy into some important but familiar debates in film theory. In the first instance, her surprising selection of films challenges existing concepts of world cinema. More radically, however, these films have a unifying aesthetic out of which Nagib’s own approach to realism comes into focus. These are films that privilege rawness and physicality, that place extreme demands on performers and producers, and inescapably work with the reality of event as well as the recording function of the medium itself. Nagib’s grounding for the aesthetic of realism is based on an ethical commitment to the living, temporal, spatial and dramatic exchange between the camera as mechanism and the extreme event it is filming. Nagib has successfully turned the theoretical kaleidoscope, reconfiguring the crucial concept of realism, its significance for film theory, into new, exciting, sometimes shocking, patterns of thought and perception.’
Laura Mulvey

World Cinema and the Ethics of Realism is a highly original study. Traditional views of cinematic realism usually draw on the so-called classical cinema and its allegiance to narrative mimesis, but Nagib challenges this, drawing instead on the filmmaker’s commitment to truth and to the film medium’s material bond with the real. Starting from the premise that world cinema’s creative peaks are governed by an ethics of realism, Nagib conducts comparative case studies picked from world new waves, such as the Japanese New Wave, the French nouvelle vague, the Cinema Novo, the New German Cinema, the Russo-Cuban Revolutionary Cinema, the Portuguese self-performing auteur and the Inuit Indigenous Cinema. In all cases, making films is making history, entailing change in the real life of casts and crews, and therefore producing, rather than reproducing, reality. Drawing upon Badiou and Rancière, World Cinema and the Ethics of Realism revisits and reformulates several fundamental concepts in film studies, such as illusionism, identification, apparatus, alienation effects, presentation and representation. Its groundbreaking scholarship takes film theory in a bold new direction.

Bookmark
Download
- by Lucia Nagib
- •
- 11
  Ethics, Philosophy of Film, Japanese Cinema, German Cinema

Bookmark
Download
- by Anouk Phéline
- •
- 20
  French Literature, French History, French Cinema, French Studies

Many studies centred on Godard do not relate his films and ideas to other film practice. This study of essay film, taking as its central object Godard's Histoire(s), uses cognitive mapping to relate his work to Resnais, Marker, Debord,... more

Bookmark
Download
- by James Rowlins
- •
- 2
  French New Wave, French New Wave cinema

Παναγιώτη Μήνη και Κωνσταντίνα Γεωργιάδη (επιμ.), Προσεγγίσεις στην ιστορία του κινηματογράφου/Approaches to Film History, Πανεπιστήμιο Κρήτης και Ινστιτούτο Μεσογειακών Σπουδών, ΙΤΕ, 2020. ΠΕΡΙΕΧΟΜΕΝΑ Παναγιώτα Μήνη – Κωνσταντίνα... more

Παναγιώτη Μήνη και Κωνσταντίνα Γεωργιάδη (επιμ.), Προσεγγίσεις στην ιστορία του κινηματογράφου/Approaches to Film History, Πανεπιστήμιο Κρήτης και Ινστιτούτο Μεσογειακών Σπουδών, ΙΤΕ, 2020.

ΠΕΡΙΕΧΟΜΕΝΑ

Παναγιώτα Μήνη – Κωνσταντίνα Γεωργιάδη
Εισαγωγικά

Ζητήματα προβολής, διανομής και πρόσληψης ταινιών

Ειρήνη Πλουμίδη
Η κινηματογραφική κίνηση στο Ηράκλειο Κρήτης (1925-1931)

Κωνσταντίνα Βάμβουκα
Το ελληνοτουρκικό Σύμφωνο Φιλίας του 1930: ο αντίκτυπός του
στον κινηματογράφο

Katerina Komi
Distribution and Exhibition of French New Wave Films in Greece (1958-1974)

Κινηματογραφικές Αναπαραστάσεις
1. Θεσμοί και κοινωνικές ομάδες

Αναστασία Δαδούση
Η ελληνική οικογένεια μέσα από την κινηματογραφική κωμωδία:
το παράδειγμα της ταινίας Γάμος αλά ελληνικά (Βασίλης Γεωργιάδης, 1964)

Κατερίνα Ηλιοπούλου
Η νοηματική γλώσσα στον κινηματογράφο:
απεικονίσεις των κωφών και των γλωσσών τους

2. Κινηματογράφος και ιστορία

Μαρία Βαϊλάκη
“You don’t question what you believe”:
φανατισμός και μισαλλοδοξία στην ταινία Agora (2009) του A. Amenábar

Mirjana Poptesin (Μίριανα Ποπτέσιν)
Παρελθόν και παρόν της πρώην Γιουγκοσλαβίας/Σερβίας
στο Μια γυναίκα–Ένας αιώνας (2011) του Ζέλιμιρ Ζίλνικ:
η ιστορία στον κινηματογράφο και στον γραπτό λόγο

3. Κινηματογράφος, ιστορία και άλλες τέχνες

Marilou Nikolaou
Reading into 17th Century Witch-hunt:
Miller’s The Crucible and Rouleau’s Les sorcières de Salem

Ανθή Παπαναστασίου
Συνάντηση λογοτεχνίας, κινηματογράφου και ιστορίας στο Ουζερί Τσιτσάνης

Νέες θεματικές στον ελληνικό κινηματογράφο

Παναγιώτης Δενδραμής
Σχολή Σταυράκου 1948-1958. Η πρώτη δεκαετία:
διαμορφώνοντας την κινηματογραφική εκπαίδευση στην Ελλάδα

Νίκος Τσαγκαράκης
Ρομαντικός επαναστάτης: η διαδικασία παραγωγής
του Μοντέλου (1974) ως επιτομή του οράματος του Κώστα Σφήκα

Δημήτρης Νινίκας
Η μουσική στη Γλυκιά συμμορία (1983) του Νίκου Νικολαΐδη

Βιογραφικά σημειώματα

Contents

Ο συλλογικός τόμος Προσεγγίσεις στην ιστορία του κινηματογράφου είναι το αποτέλεσμα ερευνητικών εργασιών σπουδαστριών και σπουδαστών του Τμήματος Φιλολογίας του Πανεπιστημίου Κρήτης. Οι απαρχές της δημιουργίας του τόμου μπήκαν το 2017, όταν, στο πλαίσιο του μεταπτυχιακού σεμιναρίου «Ιστορία και ιστοριογραφία του κινηματογράφου», φοιτητές και φοιτήτριες από διαφορετικές κατευθύνσεις του τμήματος – κινηματογράφου, θεατρολογίας, γλωσσολογίας, κλασικών και νεοελληνικών σπουδών – είδαν με ενθουσιασμό την προοπτική της ιστορικής μελέτης του κινηματογράφου. Εκκινώντας από τα δικά τους ευρύτερα ενδιαφέροντα, πραγματοποίησαν πρωτότυπη έρευνα σε επιμέρους πεδία της κινηματογραφικής ιστορίας όπως η κινηματογραφική επιχειρηματική δραστηριότητα, η πρόσληψη ταινιών, οι αναπαραστάσεις ιστορικών γεγονότων και κοινωνικών ομάδων και η κινηματογραφική διασκευή. Ένα χρόνο αργότερα, τον Οκτώβριο του 2018, πορίσματα αυτών των εργασιών, καθώς και μελέτες υποψήφιων διδακτόρων και νεαρών επιστημόνων του κινηματογράφου από το ίδιο τμήμα παρουσιάστηκαν στο συνέδριο «Προσεγγίσεις στην ιστορία του κινηματογράφου», το οποίο χρηματοδοτήθηκε από τον Ειδικό Λογαριασμό Έρευνας και Κονδυλίων Πανεπιστημίου Κρήτης και το Τμήμα Φιλολογίας και έλαβε χώρα στο Ινστιτούτο Μεσογειακών Σπουδών του Ιδρύματος Τεχνολογίας και Έρευνας στο Ρέθυμνο.
Ο παρών τόμος περιλαμβάνει δώδεκα κείμενα που συνιστούν αναπτυγμένες και σε βάθος αναθεωρημένες μορφές ομιλιών του συνεδρίου και επιλέχτηκαν για έκδοση κατόπιν κρίσης. Τα δώδεκα μελετήματα καλύπτουν ποικίλες πτυχές της ιστορικής κινηματογραφικής έρευνας, και συγκεκριμένα, ζητήματα διανομής, προβολής και πρόσληψης ταινιών∙ καταγραφές και αναπαραστάσεις θεσμών, κοινωνικών ομάδων και ιστορικών γεγονότων∙ σχέσεις του κινηματογράφου με άλλες τέχνες∙ και θεματικές για τον ελληνικό κινηματογράφο που σπάνια έχουν εξεταστεί (από την Εισαγωγή του τόμου).

Bookmark
Download
- by Panayiota Mini and +1
  Constantina Georgiadi
- •
- 15
  Avant-Garde Cinema, Film Adaptation, Film History, Film and History

Nous avons tous encore en tête ses fameuses Trois petites notes de musique ou le ton canaille de Brigitte Bardot et Jeanne Moreau distillant leur joie de vivre dans Viva Maria. Le Mépris, Platoon, Le dernier métro, Un homme pour... more

Nous avons tous encore en tête ses fameuses Trois petites notes de musique ou le ton canaille de Brigitte Bardot et Jeanne Moreau distillant leur joie de vivre dans Viva Maria.
Le Mépris, Platoon, Le dernier métro, Un homme pour léternité, ou encore Jules et Jim, cétait lui, Georges Delerue. Plus de 400 partitions pour limage. 40 ans de carrière. Trois Césars, un Oscar...
Mais il faut regarder au-delà des chiffres. Georges Delerue, cest le destin extraordinaire de lenfant du Nord qui se lance en autodidacte dans la musique faute de pouvoir payer ses premiers cours. Pris en charge par Darius Milhaud, Delerue acquiert ensuite au Conservatoire de Paris une formation classique poussée, couronnée par un Grand Prix de Rome.
Laventure de la musique de scène débute dans les premiers festivals de province daprès-guerre. Engagé par Vilar au T.N.P., Delerue servira parallèlement durant de longues années les uvres de Clavel, Shakespeare, Ionesco ou Beckett, tout en laissant une uvre contemporaine considérable pour le ballet, le son et lumière et la musique de concert.
Puis cest le passage au cinéma, porté par larrivée de la Nouvelle Vague et de ses jeunes réalisateurs Colpi, Truffaut -dont il fut longtemps le complice musical- Godard, Resnais, Kast... Cest dailleurs au cinéma quil connaîtra lessentiel de sa renommée, signant par la suite outre-Atlantique les bandes originales des films de Jack Clayton, Mike Nichols, Fred Zinnemann ou Oliver Stone.
Au début des années 80, il sinstallera définitivement aux Etats-Unis, et deviendra rapidement lun des compositeurs les plus aimés et les plus admirés dHollywood. Il y décèlera tragiquement en 1992, au moment même où sortait sa dernière uvre originale, Dien Bien Phu, de Pierre Schoendoerffer. Il était âgé de 67 ans.
Sappuyant sur près de quatre années de travail et sur le recueil de nombreux témoignages de première main, ce livre constitue la première biographie consacrée à Georges Delerue, un des musiciens les plus couramment associés aujourdhui au cinéma français des années 60.

COUPURES DE PRESSE

"Un bourreau de travail, constamment inventif, capable de composer pour trois films par an en variant sans cesse son inspiration, sa facture musicale, son orchestration. Un musicien qui avait choisi de fuir sa tour d'ivoire afin de combler l'ouïe de tout un chacun."

L'Humanité

"Georges Delerue eut une activité considérable... S'il nous plaît de retenir plus volontiers son apport au cinéma français, c'est qu'il y a trouvé son véritable domaine d'expression lyrique. Mais il sut se renouveler et sa réputation de compositeur international était parfaitement justifiée."

Le Monde

"La beauté de ses musiques résonne encore en nous"

Télérama

"Quels que soit ses succès dans le 7ème Art, Georges Delerue n'a jamais abandonné ses amis du "classique". Toujours la tentation de la musique pure pour le docteur Jekyll. Mr Hyde n'acceptait pas pour autant de composer de la musique "impure"..."

Le Figaro

"On ne se lasse pas des contes de fées... Ils sont faits pour être dits et redits le soir avant d'aller dormir. La vie de Georges Delerue en est un..."

Roubaix Informations

This essay discusses James Cameron as an auteur. While writing this paper, I was very inspired by my Philosophy class, and might have taken it a little too seriously. :))

Bookmark
Download
- by Danielle Marquez
- •
- 13
  Philosophy, Historicism, Philosophy of Film, Film-Philosophy

The article locates Le Joli Mai within the context of cinéma vérité to reconsider its status as documentary with regard to Marker’s historiographic concerns. It does this through analyzing the director’s multivalent aesthetics that is... more

Bookmark
Download
- by Chang-Min Yu
- •
- 8
  Film Studies, French Cinema, Gesture, Historiography

The Mother and the Whore (La Maman et la putain,1973) is a landmark film in french cinema history. Jean Eustache's lengthy and verbose masterpiece reflects post-1968 turmoil, most of all the feminism impetus. However, Alexandre, the main... more

Bookmark
Download
- by Vincent Lowy
- •
- 6
  Gender Studies, Film History, Jean Renoir, French New Wave

If “every tracking shot is a moral act,” as Jean-Luc Godard has once remarked, then filmmaking in the aftermath of colonialism must have posed numerous challenges to a fresh offbeat Nouvelle Vague director like himself. How is filmmaking... more

Bookmark
Download
- by Mohammad Salama
- •
- 27
  European History, French Literature, Ethics, Visual Studies

Chris Marker’s La jetée (1962) has emerged as one of the foundational texts of postwar European cinema. Yet film studies’ predominantly formal emphasis on Marker’s play with movement, stasis, and temporality has undermined investigations... more

Bookmark
Download
- by Matthew Croombs
- •
- 22
  Semiotics, French Literature, Visual Studies, French History

Bookmark
Download
- by Arif Eren Karakaş
- •
- 4
  French New Wave, Jean-Luc Godard, Alain Resnais, François Truffaut

Bookmark
Download
- by Martin Lefebvre
- •
- 18
  Film Theory and Practice, Film Studies, Film Theory, French Cinema

Bookmark
Download
- by Ludovic Cortade
- •
- 4
  French Cinema, Jean Renoir, French New Wave, François Truffaut

This is an excerpt from The DARKROOM (Contra Mundum Press 2021, translated with Alta Ifland) a book that translates for the first time into English the screenplay for Marguerite Duras’ 1977 radically experimental film Le camion (The... more

Bookmark
Download
- by Eireene Nealand and +1
  Alta Ifland
- •
- 20
  Art History, Marxism, Neuroaesthetics, Gilles Deleuze

Complete presentation of the 1996 Oxford University Conference on the relationship between writing and film-making in the work of Alain Robbe-Grillet. Collated and edited by author and film-maker Edouard d’Araille, the colloquium brought... more

Bookmark
Download
- by Edouard d'Araille
- •
- 20
  French Literature, Film Theory, The Novel, Literary Theory

The genre of the musical occupies a privileged space in film history as a genre full of gaiety, comedy, passion and romance. In fact, one could say that the musical is the quintessence of entertainment if that idea of entertainment... more

Bookmark
Download
- by Andre A Seewood, Ph.D.
- •
- 4
  Film Studies, French Cinema, Film Analysis, French New Wave

Bookmark
Download
- by Mikhail Cevadov
- •
- 8
  Literature, Grey Literature, French Impressionism, French New Wave

French New Wave

Log In