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Between art and life

The term la Parisienne denotes a figure of French modernity. There is significant scholarship on la Parisienne in the fields of art history, fashion theory and culture and cultural histories of Paris However, there is little written on the (re)appearance and function of the type in cinema. This book is intended as an introduction to la Parisienne and her iconography in cinema, and deals predominantly with visual and narrative conventions, derived primarily from nineteenth-century art, literature and visual culture. The iconography of la Parisienne can be categorised according to the following concepts: visibility and mobility; style and fashionability, including self-fashioning; artist and muse; cosmopolitanism; prostitution; danger; consumption; and transformation. The book argues that la Parisienne is a type which exists between art and life, and the figure that emerges from this blurring of art and life is la Parisienne as muse. It considers the cosmopolitanism of the Parisienne type, in the sense of 'anyone' and 'anywhere', and argues that la Parisienne was conceived as feminity as such. The book explores the relationship between la Parisienne, fashion and film, and looks at la Parisienne as femme fatale within the context of French film noir. It traces her development in nineteenth-century art and literature, and examines the way the Parisienne as courtesan is (re)presented in cinema. The book also investigates the contribution star personae of Brigitte Bardot, Charlotte Gainsbourg, Anna Karina, and Jeanne Moreau have made to the Parisienne type in cinema.

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Felicity Chaplin

Yves Saint Laurent claim that ‘any woman anywhere can be a Parisienne’ echoes an aphorism of Uzanne written more than a century earlier: ‘On peut naître d’instinct et de goûts Parisienne sur tous les points du territoire, voire même en différentes villes ou contrées du globe’ (18), ‘A woman may be Parisian by taste and instinct anywhere on French soil, and indeed in any town or country in the world’ (The Modern Parisienne 1). Nevertheless, the cosmopolitanism of la Parisienne is inextricably linked to Paris as a cosmopolitan city, the nineteenth-century capital of

in La Parisienne in cinema
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‘What’s she like?’
Felicity Chaplin

establishing the Parisienne as a type in cinema through developing an iconography of the Parisienne type based on the recognition of various motifs, the foundations are laid for future scholarship that will deploy other approaches to the subject such as feminism, gender studies, or indeed, other more critical or evaluative approaches, such as ethno-criticism, that could not be pursued here. Indeed, the Parisienne type contains a kind of in-built critique of ethnic/national identities, and is supposed to transcend national/ethnic borders towards a more cosmopolitan identity

in La Parisienne in cinema
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Performing ‘out- of- placeness’ in the UK and Europe
Stephen Greer

136 Queer exceptions European cosmopolitanism and mobility. Recalling Simmel’s emphasis on the synthesis of proximity and distance within the figure of the stranger –​and mindful of Ahmed’s observation of the ways in which the stranger may become fetishised –​I consider Nassim Soleimanpour’s White Rabbit, Red Rabbit (2010), a work created when the playwright was unable to leave Iran and of which each performance requires a new, unrehearsed actor to act as Soleimanpour’s surrogate. While critical reception of the work has emphasised its status as a creative

in Queer exceptions
Domesticating the documentary archive
Kathleen M. Vernon

time on what it excludes – direct evidence of the Civil War and postwar hardship and repression – as well as what it includes: a chronicle of the cosmopolitan modernity of the Catalan upper classes during the early decades of the twentieth century and their continuing mobility under the Franco dictatorship. In its creative appropriation of domestic cinema as archival source, A Glimpse of Other Lives

in Spanish cinema 1973–2010
Paris revisited
Sue Harris

popular cinematic modes. As this chapter will show, Garci’s project is multiply nostalgic – first, in its reinvestigation of the critical potential of Spanish genre film in the late Franco era; second, in its harnessing of the visual and performative codes of classic theatre and cinema; and third, in its revisiting of the city of Paris as a signifier of political freedom, sexual identity and modern cosmopolitanism, as well as

in Spanish cinema 1973–2010
Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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Gemma King

between different cultural groups in contemporary French society. Yet in opposition to most twentieth-century film, this cinema does not adopt an overarching Eurocentric approach to considering language difference and social power, but rather ‘advocate[s] for a non-Eurocentric cosmopolitanism’ (Ceuterick 2014: 79). In such films, as Elena Caoduro writes: Multiculturalism appears therefore through a new prism; it contemplates the acquisition of a new civic and collaborative identity, or, using MUP_King_Printer.indd 188 22/06/2017 11:03 Conclusion 189 Tariq Modood

in Decentring France
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Guy Austin

spy spoof, Marie-Chantal contre Docteur Kha. Hence the sequences in the Swiss hotel and on the Alpine ski-lifts, the use of trains and planes, the cosmopolitan cast of minor characters (spies in Marie-Chantal, hotel guests in Rien ne va plus), the comedy cameos (Chabrol as a barman in the former, his son Thomas as a bell-boy in the latter) and the sinister villains (Docteur Kha and his namesake Monsieur K). 1

in Claude Chabrol
Trish Winter and Simon Keegan-Phipps

, emblematically or just evocatively English’ (2006: 162); ‘British England’, which is invoked when England is conflated with Britain; ‘Little England’, often deployed since the 1960s as a pejorative term to denote an inward-looking England intolerant of outside engagements such as, for example, immigration from the former Empire, alliances with Europe, or processes of globalisation; and, finally, Cosmopolitan England, an idea of England that 113 A place called England is both outward-looking and contemporary in its orientation, culturally and ethnically diverse

in Performing Englishness