A Companion to Contemporary French Cinema

Zusatztext

A Companion to Contemporary French Cinema<p><i>A Companion to Contemporary French</i><i>Cinema</i>presents a comprehensive collection of original essays addressing all aspects of French cinema from 1990 to the present day. Featuring contributions from an international cast of established and emerging scholars of French cinema, these innovative essays highlight the diversity of French films and filmmaking techniques that have emerged since the New Wave era. Themes and topics covered include the social, political, and cultural contexts of recent French cinema; contemporary filmmakers and performers; genres, cycles, and cinematic forms; gender and sexuality; and emerging trends and innovative new filmmaking forms. Among the French films examined in depth are hit comedies including<i>Bienvenue chez les Chtis and Intouchables</i>, blockbusters such as<i>The Crimson Rivers</i>, police films like<i>36th Precinct</i>, historical films such as<i>Farewell My Queen</i> and<i>Days of Glory</i>, celebrated animated features such as<i>Kirikou and the Sorceress</i>, films representative of the new French extreme, such as<i>Romance, Baisemoi,</i>and<i>Trouble Every Day</i>, and numerous auteur films ranging from Bruno Dumonts<i>Hors Satan</i> and François Ozons shorts to Pascale Ferrans<i>Lady Chatterley</i> and Alain Guiraudies<i>LInconnu du lac</i>. Combining cutting-edge scholarship with wide-ranging methodological approaches and perspectives,<i>A Companion to Contemporary French Cinema</i> is an invaluable resource for students and scholars of French film, as well as all those interested in the evolution of this celebrated cinematic tradition.

Autorenportrait

<p><b>Alistair Fox</b> is Professor Emeritus at the University of Otago. His books include<i>Jane Campion: Authorship and Personal Cinema</i> (2011),<i>New Zealand Cinema: Interpreting the Past</i> (2011), and an English edition and translation of Anne Gillains<i>François Truffaut: The Lost Secret</i>(2013).<p><b>Michel Marie</b> is Professor Emeritus at lUniversité Sorbonne Nouvelle Paris 3. His publications include<i>The French New Wave: An Artistic School</i> (1998, translated into English in 2002),<i>Aesthetics of Film</i> (with Jacques Aumont and Alain Bergala, 1983, translated into English in 2002), and<i>Les Grands Pervers au cinéma</i> (2009).<p><b>Raphaëlle Moine</b> is Professor of Cinema and Media Studies at lUniversité Sorbonne Nouvelle Paris 3. Her publications include<i>Cinema Genre</i> (2002; translated into English in 2008),<i>Remakes: les films Français à Hollywood</i>(2007), and<i>Les Femmes daction au cinéma</i> (2010).<p><b>Hilary Radner</b> is Professor of Film and Media Studies in the Department of History and Art History at the University of Otago. Her publications include<i>Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture</i> (2011) and<i>Feminism at the Movies: Understanding Gender in Contemporary Popular Culture</i> (2011).

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