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The films of the New French Extremity have been reviled by critics but adored by fans and filmmakers. Known for graphically brutal depictions of sex and violence, the subgenre emerged from the French art-house scene in the late 1990s and became a cult phenomenon, eventually merging into the horror genre where it became associated with American torture porn. Decidedly French in flavor, the films seek to reveal the dark side of French society. This book provides an in-depth study of New French Extremity, focusing on such films as Trouble Every Day (2001), Irreversible (2002), Twentynine Palms (2003), High Tension (2003) and Martyrs (2008). The author explores the social implications of cinematic cruelty presented not as "violent films" but as "films about violence."
When collective memory is a source of national debate, the public representation of history quickly becomes a locus of controversy and ideological struggle. Remembering the Occupation in French Film explores French identity as it is articulated through cultural representations of Occupied France in French film. This work shows how French film has allowed for a public airing of current concerns through the lens of memory’s recreations of the Occupation. By focusing on the representation of women as the symbol of a collective identity crisis, the author links France’s traditional female icon, Marianne, to the multiple unresolved ambiguities that have continued to plague France’s historical reckoning with the war.
Examines popular French film of the last 25 years. Charts recent developments in all genres since the New Wave, including the heritage film, the thriller, the war film, `cinema du look'. Other topics include: representations of sexuality; the work of women film-makers. Includes a filmography.
Film scholars from the UK, France and the US assess a dominant art form's engagement with expressions of national identity at key moments in French cinematic history, from its origins in the 1890s right up to the present day.
This book offers insights into diverse non-American national perspectives on the US-led military interventions in Afghanistan and Iraq within the generic frames of the war film. While the best-known films about the post-9/11 wars in the Middle East are American productions, various other national cinematographies have responded to these conflicts, which is not surprising given the fact that international coalitions were formed to support the US military effort. However, non-American war films about these US-instigated interventions have received little attention outside their own national contexts. This volume fills in the gap in the existing war film criticism by offering insights into how the Afghanistan War (2001–2021) and the Iraq War (2003–2011) have been represented in popular and documentary filmic productions in Iraq, Afghanistan, Great Britain, Germany, Denmark, Poland, Spain, and Australia. The contributions prove the need for transnationalism as an eye-opening perspective on the war film genre by underscoring nationally-specific social, political and aesthetic differences alongside important correspondences between cultural productions across nations. Transnational film and the US wars in Iraq and Afghanistan will be a key resource for scholars and researchers of film studies, media and cultural studies, film history, war studies, literary criticism and sociology. It was originally published as a special issue of Journal of War & Culture Studies.
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The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s. Films discussed include: * masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis * popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud * landmarks of the New Wave such as Les 400 Coups and A bout de souffle * important films of the 1990s such as Nikita and La Haine The films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.
When themes of historical and cultural identity appear and repeat in popular film, it is possible to see the real pulse of a nation and comprehend a people, their culture and their history. National Identity in Global Cinema describes how national cultures as reflected in popular cinema can truly explain the world, one country at a time.
The Millennium Dome, Braveheart and Rolls Royce cars. How do cultural icons reproduce and transform a sense of national identity? How does national identity vary across time and space, how is it contested, and what has been the impact of globalization upon national identity and culture?This book examines how national identity is represented, performed, spatialized and materialized through popular culture and in everyday life. National identity is revealed to be inherent in the things we often take for granted - from landscapes and eating habits, to tourism, cinema and music. Our specific experience of car ownership and motoring can enhance a sense of belonging, whilst Hollywood blockbusters and national exhibitions provide contexts for the ongoing, and often contested, process of national identity formation. These and a wealth of other cultural forms and practices are explored, with examples drawn from Scotland, the UK as a whole, India and Mauritius. This book addresses the considerable neglect of popular cultures in recent studies of nationalism and contributes to debates on the relationship between ‘high' and ‘low' culture.