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Chris Pearson

, ‘Environnement civil’, 27. 74 Goffres, Considérations historiques, hygiéniques et médicales, 28; Morin, Camp de Châlons, 124–6. Quote on 126. 75 Camille Husson, Étude sur le camp de Châlons: L’homme préhistorique et le cultivateur actuel (Toul: Imprimerie de T. Lemaire, 1872), 56. 76 Gérard de Puymège, Chauvin, le soldat-labourer: Contribution à l’étude des nationalismes (Paris: Editions Gallimard, 1993); David M. Hopkin, Soldier and Peasant in French Popular Culture, 1766–1870 (Woodbridge: Royal Historical Society/Boydell Press, 2003); Kenneth I. Helphand, Defiant 36 The

in Mobilizing nature
Martin Thomas

’s underlying discontent with the cliquish self-absorption of the French officer corps, the democratisation of the Third Republic and the vulgarisation of French popular culture. 48 Lyautey’s long-standing aversion to money-grubbing grands colons and the European settler proletariat in the major cities of Algeria and Morocco was not mere snobbery. It stemmed from the conviction that

in The French empire between the wars
Abstract only
From reluctant author to screenwriter as myth
Sarah Leahy and Isabelle Vanderschelden

Monsieur Lange (Renoir, 1936), Le Quai des brumes/Port of Shadows (Carné, 1938 ), Le Jour se lève/Daybreak (Carné, 1939), Remorques/Stormy Waters (Grémillon, 1941) and, most especially, Les Enfants du paradis/Children of Paradise (Carné, 1945). However, Prévert also has a unique status within French popular culture. Unlike many of his contemporary

in Screenwriters in French cinema
Abstract only
Martin O’Shaughnessy

River’s critique of European civilisation and opens a tryptych of historical costume dramas that are deliberately anti-realist in their theatricality. French Cancan (1954) saw Renoir return at last to film-making in his native country. 1 Set in the belle époque, it can be seen as a celebration of French popular culture designed to help the director to re-establish himself in his homeland. Eléna

in Jean Renoir
Popular imperialism in France
Martin Thomas

exhibitions of the inter-war period: the Marseilles colonial exhibition of 1922, the 1930 celebrations of the centenary of French rule in Algeria, and the massive 1931 colonial exhibition in the Vincennes parkland on the eastern fringes of Paris. Reminders of empire abounded in French popular culture. Why then is the idea of popular imperialism in inter-war France so elusive? The

in The French empire between the wars
A discursive history of French popular music
David Looseley

, AngloAmerican pop could only be viewed as ‘other’, just as Baker and la Revue nègre had been in the 1920s, albeit without the same directly racialised element. Pop was inauthentic and lowbrow: a foreign, manufactured, barely literate product of American industrial capitalism; it was everything that chanson was not. Nevertheless, the story of pop in France from the 1960s to the present is in fact one of gradual appropriation and transformation into a more rooted, more organically French popular culture. Appropriation and the reinvention of the lowbrow The meanings of yéyé What

in Imagining the popular in contemporary French culture
The popular novel in France
Diana Holmes

worldview. It was a Catholic group that in 1877 founded the highly popular magazine Les Veillées des Chaumières (Evenings by the Cottage Fireside), in which the reality of most women’s domestic lives was acknowledged by the provision of articles on cookery and dressmaking alongside serialised stories representing the ineluctable centrality of marriage and family, pleasurably idealised through romances that were at once chastely proper and well provided with narrative thrills. Pious romantic fiction thereafter came to form a significant strand of French popular culture

in Imagining the popular in contemporary French culture
Will Higbee

(a possible metaphor for the way in which French rap has crossed over from the marginal spaces of the urban periphery into the mainstream of French popular culture). This conscious effort to limit the amount of rap music used in the film, could be read as part of a more general attempt by Kassovitz to incorporate hip-hop culture into the film without falling into stereotypical associations made

in Mathieu Kassovitz
The French empire and its metropolitan public
Berny Sèbe

contrary. The increasing visibility of the colonial theme in the metropole over the period studied in this book represents an unquestionable evolution in French popular culture Limited to a relatively small and educated constituency in the first half of the nineteenth century, material about the colonies became more widely available as better means of communication transformed

in European empires and the people
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

directly into French popular culture, for Lochet is most famous for his role as a stereotypical character from the area of La Sarthe in the long-running TV series, Les Deschiens. 11 Other directors include Jean Odoutan (Benin), Zeka Laplaine (Congo), and Cheik Doukouré (Guinea), whose films, as John Orr has argued, explore France as an Africanised transnational space and operate a time-space compression which shows that the city can no longer be viewed as a tangible entity with distinct boundaries (see Orr 2000: 137). They are informed by, or intercut with, discussions

in Space and being in contemporary French cinema