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A book about the role America plays in the French imagination, as it translates to the French stage. Informed by a rich variety of Western cultural scholarship, Essif examines two dozen post-1960 works representing some of the most innovative dramaturgy of the last half century, including works by Gatti, Obaldia, Cixous, Koltes, and Vinaver.
Looks at the influence of French culture on a variety of motion pictures in the 1950s and 1960s, including "Gigi" and "Funny Face."
The American Far West is, perhaps, one of the foremost images of the United States, one that has influenced many authors, especially during the twentieth and twenty-first centuries. It is a place of vast, empty spaces, of adventure and danger, of heroes and villains. It is a space that excites the imagination in its grandeur and possibility. Writers such as Jean Baudrillard and Umberto Eco have written of this grandeur, of the space of the American Dream. There they find the hyperreality of America, the constant drive to re-create aspects of European history and culture to fill the cultural void. Yet it is a place that promises the fulfillment of one's dreams, and this is what makes the space so alluring. Between 1965 and 2003 five plays written in French attempted to place this cinematic space on the stage: Obaldia's Du vent dans les branches de sassafras, Arrabal's Sur le fil ou ballade du train fantôme, Fenwick's Calamity Jane, Duparfait's Idylle à Oklahoma: Une offre d'emploi, and Anne's Le Bonheur du vent. In these five plays the American Far West is presented, not on the stage, but in the virtual space--the space of the imagination, beyond the confines of the stage. This is done in part because the Far West is difficult to represent in the theater due to the sheer size associated with it; it is a cinematographic space. However, America itself is an imagined space, a space that not only physically overwhelming, but also one that is void of culture as the French perceive it. These five plays, in a variety of styles, portray the hyperreality and emptiness of the virtual space that is America.
A year in Paris. Countless American students have been lured by that vision--and been transformed by their sojourn in the City of Light. These stories tell of that experience, and how it changed the lives of three extraordinary American women.
Viewing cross-cultural differences through the lens of cinema.
A new collection from David Sedaris is cause for jubilation. His recent move to Paris has inspired hilarious pieces, including Me Talk Pretty One Day, about his attempts to learn French. His family is another inspiration. You Cant Kill the Rooster is a portrait of his brother who talks incessant hip-hop slang to his bewildered father. And no one hones a finer fury in response to such modern annoyances as restaurant meals presented in ludicrous towers and cashiers with 6-inch fingernails. Compared by The New Yorker to Twain and Hawthorne, Sedaris has become one of our best-loved authors. Sedaris is an amazing reader whose appearances draw hundreds, and his performancesincluding a jaw-dropping impression of Billie Holiday singing I wish I were an Oscar Meyer weinerare unforgettable. Sedariss essays on living in Paris are some of the funniest hes ever written. At last, someone even meaner than the French! The sort of blithely sophisticated, loopy humour that might have resulted if Dorothy Parker and James Thurber had had a love child. Entertainment Weekly on Barrel Fever Sidesplitting Not one of the essays in this new collection failed to crack me up; frequently I was helpless. The New York Times Book Review on Naked
All the novelists studied were published initially in popular collections, such as the Serie noire, but they have been chosen for the innovation of their work and the exciting ways in which they resist tired conventions and offer new ways of representing social reality." "One of the first English-language studies of this popular genre, The Roman Noir in Post-War French Culture offers much more than close readings of these fascinating texts; it demonstrates the important contribution of the roman noir to the cultural histories of post-war France."--Jacket.
For a long time, France and its culture have been one and the same. However, of this past glory, all that is left today is navel-gazing, nostalgia and timidity. Covering art, fashion, philosophy, literature and cinema, Donald Morrison argues that French culture no longer has the kind of international standing it once did.
Frères Ennemis focuses on Franco-American tensions reflected in literature. Each chapter explores the evolution/devolution of the often fraught relations between the two nations, ranging from an initial French fear of American cultural dominance to the eventual realization that France could absorb this cultural invasion into its own traditions.