Patrice Leconte appears to the world as a Janus-faced figure. This
introduction presents an overview of the key concepts discussed in the
subsequent chapters of this book. The book explores Leconte's use of
comedy as a strategy for negotiating and navigating the subject's
passage through the world. It examines Leconte's representations of
masculinity in relation to the rich and under-explored concept of the
'masculine masquerade', a term taken from psychoanalytic theory.
The book also examines the criticism often levelled at Leconte's cinema
that it is excessively fetishistic and reveals a bias of misogyny. It
focuses on Leconte's most recent films, La Fille sur lepont,
La Veuve de Saint-Pierre, Felix et Lola and Rue des
plaisirs, which have in common a focus on unconventional relationships
between men and women.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers memory as a specific framework for the study of popular film, intervening in growing debates about the status and function of memory in cultural life and discourse. It examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The book explores the political stakes of cinematic discourse in its production of national memory. It also examines the discursive and institutional apparatus that has come to support the memory of Classic Hollywood in British cultural life. The book also considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory.