Jean Renoir is widely seen as the greatest French director and one of the major
figures of world cinema. This book introduces Renoir's life and his highly
uneven career. It demarcates his vision of his films, craft and ideological
evolution and draws substantially on his writings and interviews. As he made
films addressing different audiences with varying degrees of freedom in shifting
production and socio-historical contexts, the book identifies the periods when
the contextual factors remained relatively stable. Pierre-Auguste Renoir, mon
père is the text most frequently drawn upon to fill in his early years. The
book deals with Renoir and his leftist critics and the auterists. He is a
challenge to auteurists because of his commitment and his many changes of
direction. Cahiers was a polemical journal, and the Cahiers
critics were far from uniform in their general outlook or their specific
response to Renoir. It then considers the films that Renoir directed during his
first decade as a film-maker. They are considered in two groups: the silent
films and those that followed the introduction of sound. Critics seem to assume
a dehistoricised and homogenised America that is somehow the antithesis of
France. Perhaps this is because 'Renoir américain' was seen on
European screens when the cold war was raging and the world seemed polarised
between two monolithic blocs. The book also deals with Renoir's late films
after his return to France in 1951, after an absence of more than ten years.
Laurent Cantet is of one France’s leading contemporary directors. He probes the evolution and fault-lines of contemporary society from the home to the workplace and from the Republican school to globalized consumption more acutely than perhaps any other French film-maker. His films always challenge his characters’ assumptions about their world. But they also make their spectators rethink their position in relation to what they see. This is what makes Cantet such an important film-maker, the book argues. It explores Cantet’s unique working ‘method,’ his use of amateur actors and attempt to develop an egalitarian authorship that allows other voices to be heard rather than subsumed. It discusses his way of constructing films at the uneasy interface of the individual, the group and the broader social context and his recourse to melodramatic strategies and moments of shame to force social tensions into view. It shows how the roots of the well-known later films can be found in his early works. It explores the major fictions from Ressources humaines to the recent Foxfire, Confessions of a Girl Gang. It combines careful close analysis with attention to broader cinematic, social and political contexts while drawing on a range of important theorists from Pierre Bourdieu to Jacques Rancière, Michael Bakhtin and Mary Ann Doane. It concludes by examining how, resolutely contemporary of the current moment, Cantet helps us rethink the possibilities and limits of political cinema in a context in which old resistances have fallen silent and new forms of protest are only emergent.
One of the key features of Jean-Jacques Beineix's relationship with the film
image is the notion of seduction and the erotic. This book shows Beineix's
films form a coherent body of work and sketches out a psychodrama formed by
Beineix's feature films. It explains, the cinéma du look was placed
by many, including Beineix himself, in a position of confrontation with the
cinema of the nouvelle vague. The book considers the early 1980s debates
concerning the film image which led to the view espoused by Jean-Michel Frodon,
after a brief account of Beineix's apprenticeship years. It attempts to
place Beineix's work within the context of the development of French
cinema, and discourses on the French cinema, as they evolved during the 1980s.
Beineix's first feature film, Diva, enjoyed considerable success,
becoming something of a cult film for the youth audience of the time, as well as
launching the careers of Richard Bohringer and Dominique Pinon. More than any of
the films of the cinéma du look, La Lune dans le caniveau
exemplifies the characteristics Bassan enumerates: a mise en scène, which
privileges exuberance, light, movement, especially the curves and curls of the
camera, and an emphasis on sensation. Bereavement after IP5 turned
Beineix away from feature filmmaking, despite several propositions from American
producers, Alien Resurrection and The Avengers among them.
Jean Cocteau, the first French writer to take cinema seriously, was as old and young as cinema itself; he made his first film in 1925 and completed his last film when he was 70. This book first deals with the issue of the type of film maker that Cocteau was: as a auteur, as a collaborator, as an experimenter, and as a theorist. It takes the pulse of Cocteau's cinema by examining in detail his ground-breaking first film Le Sang d'un poète', and argues that the film offers a vision of the potential of film for Cocteau. The book traces the evolution of realism and fantasy in Cocteau's work by introducing a main element, theatre, and assesses the full gamut of Cocteau's formal inclinations: from the legend and fantasy of L'Eternel retour to the spectacular fairytale of La Belle et la bête; from the 'film théâtral' of L'Aigle à deux têtes to the domestic melodrama Les Parents terribles which 'detheatricalises' his original play. In Le Testament d'Orphée, all the various formal tendencies of Cocteau's cinema come together but with the additional element of time conceived of as history, and the book re-evaluates the general claim of Cocteau's apparently missed encounter with history. The book considers whether the real homosexual element of Cocteau's cinema surfaces more at the most immediate level of sound and image by concentrating on the specifics of Cocteau's filmic style, in particular camera angle, framing and reverse-motion photography.
The book begins with a consideration of the origins and influences that have shaped Mathieu Kassovitz's development as a director, but also the cultural context within which he emerges as a filmmaker. It argues new realism, the banlieue. The book examines the American influences evident in all of Kassovitz's films to date as a director and explores the continuity and difference between his films as actor and director. The first phase of Mathieu Kassovitz's career comprises his short films and feature films up to and including Assassin(s), engages in an often provocative way with socio-political debates in contemporary France through an aesthetic mode of address designed to appeal primarily to a youth audience. The second phase, post-Assassin(s), appears to be marked by a conscious shift towards bigger-budget, more unashamedly commercial, genre productions. The book explores the cultural context within which Mathieu Kassovitz emerged to direct his first three short films, concentrating in the second half on key transformations relating to that have taken place in relation to French popular culture. What Kassovitz offers is not social realism, but rather what might be termed 'postmodern social fables'. Assassins, Les Rivières pourpres, Fierrot le pou and Cauchemar blanc, Métisse, La Haine are some films discussed extensively. In a national cinema that has made strategic use of the auteur's cultural cachet in order to mark its difference from Hollywood, Kassovitz is seen by many to side more closely with the American 'invaders' than the defenders of French cultural exception.
This book aims to provoke increased interest in the work of the four directors:
Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux, although
some of their early works have become more difficult to access, most of their
films remain commercially available through French distributors. The four
directors are not new arrivals and began making films in the early 1990s, yet
they have received scant critical attention in both popular and academic film
criticism. They share similar profiles in terms of box office success, number of
films made and generational affinities and, shorts and feature films in France.
They make films that straddle boundaries of categorisation and therefore escape
the quickly established and self-perpetuating groupings that serve as powerful
frameworks for popular access via DVD distribution, critical canonisation and
academic curricula. Whilst Cabrera attests her sanguine awareness of the
discriminatory treatment of women in all areas of the film industry she rejects
the suggestion that the process of her filmmaking is determined by sexual
difference or a gendered creative identity, asserting provocatively. The book
discusses Masson's use of romance and detective narratives to debunk the
former and subvert the later. The career path of Lvovsky remains distinctive
from that of other directors. Vernoux's oeuvre maintains a coherent focus
on the modes of transgression present within the generic conventions of comedy
and romance in films which exploit the common narrative device of the encounter
to propel narratives and characters across social boundaries within a dominant
generic focus on romantic comedy.
This book presents a study on François Truffaut's films. It reviews the body of work which foregrounds the main themes and discusses Truffaut's working practices as a director, drawing on his own writing about his film-making. The book commences with an introduction on his first film, Les Mistons. The energy and resilience of children act as vital counters to a morbid preoccupation with death, visible here in the fatal ending to the couple's romantic idyll. By choosing as subject for his film an exploration of the young male's sexual awakening, by situating it in a French provincial town and by adopting the realist mode, Truffaut was making an important statement. The book seeks to situate Truffaut both historically and culturally and the second aiming to give a broad overview of his films and their critical reception. It then provides a closer analysis of one film, Jules et Jim (1961), both as a means to discuss more precisely Truffaut's style of film-making and to provide an example of how a film may be 'read'. The book discusses the 'auteur-genre' tension, the representation of gender, the relationship between paternity and authorship and, finally, the conflict at the heart of the films between the 'absolute' and the 'provisional'. Truffaut's films display mistrust of the institutions that impose social order: school (Les 400 Coups), army (Baisers volés), paternal authority (Adèle H.) and the written language.
Leos Carax's early career was in two complementary ways conducted under the scrutiny of the French film journal Cahiers du Cinéma. In his 1999 television interview with Pierre-André Boutang, Carax touches on many of the qualities of a still developing personal mythology. Carax's first finished film, Strangulation Blues is in the director's own words the student film he never made. The 'autistic' part of 'autistebavarde' as this persona populates the films of Carax must be differentiated from this metaphorical usage. The typology developed by Carax contributes to the characters' withdrawal from verisimilitude; they are presented to us less as formed, reified types, or exemplars than as 'supple individuals'. This book performs a minute dissection of the heterogeneous elements shaped by Leos Carax into works of great complexity and élan in order to isolate the true singularity and originality of his 1980s films, Boy Meets Girl and Mauvais Sang. The haste with which Carax's overbudget film of 1990, Les Amants du Pont-Neuf has been categorised and in certain quarters thereby dismissed, combined with the spectacular budget catastrophe and the myths developed around the on-set events, contributed to a widespread misunderstanding of the film, as well as to a certain blindness among critics as to the merits. The title of Leos Carax's Pola X was an acronym of the title in French of Herman Melville's novel of 1852, Pierre, or The Ambiguities, that is, Pierre, ou les ambiguïtés.
Jean Epstein, born in Warsaw, was raised in Switzerland, but it was Brittany where he made some of his best films. He was famous yet misunderstood, original yet held to be idiosyncratic and poetic to a fault, consistently referred to by most critics as a key theoretician. Using familiar genres, melodramas and documentaries, he hoped to heal viewers of all classes and hasten social utopia. This book offers the first comprehensive introduction to and preliminary study of Epstein's movies, film theory, and literary and philosophical criticism in the age of cinema. Diluted into a single word, photogénie, his aesthetic project is equated with a naïve faith in the magic power of moving images, whereas Epstein insistently articulated photogénie in detailed corporeal, ethical and political terms. While Epstein scarcely refers to World War One in his writings or film work, it is clearly from this set of urgent questions that he began reflecting on art and literature. The New Wave movement in France in the late 1950s, put melodrama and avant-garde together feels oxymoronic if not sacrilegious. Epstein's filmography contains roughly an equal number of films that can be labelled fiction and documentary, a little over twenty, in each category. Epstein has opened the way for a corporeal cinema predicated on cinematography and montage rather than narration and mise-en-scène. Epstein's work in cinema, film 'theory', and philosophy, offers today a surprisingly contemporary set of movies, cinematographic idioms, and reflections on all the phenomena of cinema.
Despite his controversial reputation and international notoriety as a filmmaker, no full-length study of Henri-Georges Clouzot has ever been published in English. This book offers a re-evaluation of Clouzot's achievements, situating his career in the wider context of French cinema and society, and providing detailed and clear analysis of his major films (Le Corbeau, Quai des Orfèvres, Le Salaire de la peur, Les Diaboliques, Le Mystère Picasso). Clouzot's films combine meticulous technical control with sardonic social commentary and the ability to engage and entertain a broad public. Although they are characterised by an all-controlling perfectionism, allied to documentary veracity and a disturbing bleakness of vision, Clouzot is well aware that his knows the art of illusion. His fondness for anatomising social pretence, and the deception, violence and cruelty practised by individuals and institutions, drew him repeatedly to the thriller as a convenient and compelling model for plots and characters, but his source texts and the usual conventions of the genre receive distinctly unconventional treatment.