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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
This collection presents new essays in the complex field of French literary adaptation. Using a variety of textual and interpretive approaches, it sheds light on issues of gender, sexuality, class, politics and social conventions while acknowledging a range of contexts, from the commercial to the archival and the aesthetic. The chapters, written by eminent international scholars, run chronologically from The Count of Monte Cristo through Proust and Bonjour, Tristesse to Philippe Djian's Oh... (adapted for the screen as Elle). Collectively, they fill a need for contemporary discussions on the significance of France's literary representations in the history of global cinema.
This book examines how image affects war and whether image affects our understanding of war. Crucially, how can moving-image representation of conflict affect the legitimacy, conduct and outcome of contemporary warfare? The collapsing Twin Towers of September 11; the hooded figure at the Abu Ghraib prison in Iraq; the images of beheadings on the internet; the emaciated figure in a Bosnian-Serb concentration camp; the dancing flashes across the skylines of Baghdad as US-led air bombardment deals blows to another ‘rogue’ regime: such images define contemporary conflict. Drawing on a wide range of examples from fiction and factual film, current affairs and television news, as well as new digital media, this book introduces the notion of moving images as the key weapons in contemporary armed conflict. The authors make use of information about the US, the UK, the ‘War on Terror’, the former Yugoslavia, former Soviet states, the Middle East and Africa. War, Image and Legitimacy will be of great interest to students of war and security studies, media and communication studies, and international relations in general.
War films have existed since the birth of cinema, typically gung-ho tales of macho derring-do. But war films are not always about bravado and bravery, they also detail the horrors of war, the sadness, the brotherhood of soldiers and comedy that can be found in the bleakest of situations, as well as the excitement of the battlefield. War Films explores defining movies of the genre in sections covering different wars as well as wars with other worlds. The book also offers links between the different films, historical and cinematic worth and profiles of key actors and directors. Among the films included are Saving Private Ryan, Dr Strangelove,Welcome to Sarajevo, The Dam Busters, Gallipoli, The Deer Hunter and Ran.
Contemporary theatrical productions as diverse in form as experimental performance, new writing, West End drama, musicals and live art demonstrate a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. Featuring seventeen interviews with internationally-renowned theatre and performance artists, Theatre and Adaptation provides an exceptionally rich study of the variety of work developed in recent years. First-hand accounts illuminate a diverse range of approaches to stage adaptation, ranging from playwriting to directing, Javanese puppetry to British children's theatre, and feminist performance to Japanese Noh. The transition of an existing source to the stage is not a smooth one: this collection examines the practices and the complex set of negotiations each work of transition and appropriation involves. Including interviews with Socìetas Raffaello Sanzio, Handspring Puppet Company, Katie Mitchell, Rimini Protokoll, Elevator Repair Service, Simon Stephens, Ong Keng Sen and Toneelgroep Amsterdam, the volume reveals performance's enduring desire to return, rewrite and repeat.
In the third volume of Citron's distinguished series "The Great Songwriters", the eminent musicologist has taken on the glorious dual biography of two giants of the modern musical. Includes an exploration of such milestones as Sondheim's lyrics for "West Side Story" and "Gypsy" and Lloyd-Webber's contributions from "Jesus Christ Superstar" to "Whistle Down the Wind".
The New York Times called Stephen Sondheim "the greatest and perhaps best known artist in the American musical theater," while two months earlier, the same paper referred to his contemporary, Andrew Lloyd-Webber as "the most commercially successful composer in history." Whatever their individual achievements might be, it is agreed by most critics that these two colossi have dominated world musical theater for the last quarter century and hold the key to the direction the musical stage will take in the future. Here in the third volume of Stephen Citron's distinguished series The Great Songwriters--in depth studies that illuminated the musical contributions, careers, and lives of Noel Coward and Cole Porter (Noel & Cole: The Sophisticates), and Oscar Hammerstein 2nd and Alan Jay Lerner, (The Wordsmiths)--this eminent musicologist has taken on our two leading contemporary contributors to the lyric stage. His aim has not been to compare or judge one's merits over the other, but to make the reader discover through their works and those of their contemporaries, the changes and path of that glorious artform we call Musical Theater. In his quest, Citron offers unique insight into each artist's working methods, analyzing their scores--including their early works and works-in-progress. As in Citron's previously critically acclaimed books in this series, great significance is given to the impact their youthful training and private lives have had upon their amazing creative output. Beginning with Sondheim's lyrics-only works, West Side Story, Gypsy, Do I Hear A Waltz? through his scores for Saturday Night, Company, Anyone Can Whistle, Follies, Pacific Overtures, A Little Night Music, Sweeney Todd, Merrily We Roll Along, Sunday In the Park, Into the Woods, Assassins, and Passion, all these milestones of musical theater have been explored. Lloyd-Webber's musical contribution from his early works, The Likes of Us and Joseph to Jesus Christ Superstar, Evita, Cats, Starlight Express, Aspects of Love, By Jeeves, The Phantom of the Opera, Song & Dance, Mass, Sunset Boulevard to Whistle Down the Wind are also thoroughly analyzed. The works of these two splendid artists are clarified for the casual or professional reader in context with their contemporaries. Complete with a quadruple chronology (Sondheim, Lloyd-Webber, US Theater, British Theater), copious quotations from their works, and many never before published illustrations, the future of the artform that is the crowning achievement of the 20th century is made eminently clear in this book. Sondheim & Lloyd-Webber is a must-read for anyone interested in the contemporary theater.
Over the past 20 years European theatre underwent fundamental changes in terms of aesthetic focus, institutional structure and in its position in society. The impetus for these changes was provided by a new generation in the independent theatre scene. This book brings together studies on the state of independent theatre in different European countries, focusing on the fields of dance and performance, children and youth theatre, theatre and migration and post-migrant theatre. Additionally, it includes essays on experimental musical theatre and different cultural policies for independent theatre scenes in a range of European countries.
"Adaptations: Critical and Primary Sources is a three-volume reference resource that brings together over 80 landmark texts in adaptation studies. Volume One covers the history of adaptation studies, by plotting the 'prehistory' of the field, beginning with Vachel Lindsay's classic Art of the Moving Picture (1915), through Virginia Woolf's classic essay on 'The Cinema' through to some of the most important critical and theoretical interventions up until the 1990s when the area really emerges as a critical force in the academy. Volume Two collects essays from the last 25 years, showing how the scholarly legacy laid out in Volume One still has a profound impact on adaptation studies today, while charting the process of critical and theoretical maturation. This volume shows how adaptations studies has outgrown its contested place 'in the gap' of film and literary studies and how its interventions transcend disciplinary perspectives across the arts and humanities. Volume Three covers key case studies, such as Christine Geraghty's take on adapting Westerns, Ian Inglis' understanding of the transformation of music into movies, and Eckart Voigts' concept on Jane Austen and participatory culture. With topics ranging from the limitations of the novel to adapting stage to screen, contributions from a wide range of international scholars, film critics and novelists combine to make Adaptations: Critical and Primary Sources an original overview of critical debates today. Cartmell and Whelehan introduce each excerpt and offer a critical overview of the collected work, the rationale for its inclusion and suggestions for further reading."--