Search results

You are looking at 1 - 10 of 27 items for :

  • "Jacques Audiard" x
  • Refine by access: All content x
Clear All
Abstract only
Author: Gemma King

This is the first book dedicated to the career and films of Jacques Audiard. It argues that the work of this prominent French director both reinforces and undermines the traditional concept of the auteur.

The book traces Audiard’s career from his early screenwriting projects in the 1970s to his eight directed feature films. From a prison outside Paris to a war zone in Sri Lanka, from a marine park on the Côte d’Azur to the goldfields of the American Wild West, these films revolve around the movement of bodies. Fragile yet powerful, macho yet transgressive, each of these films portrays disabled, marginalised or otherwise non-normative bodies in constant states of crisis and transformation.

This book uses the motif of border-crossing – both physical and symbolic – to explore how Audiard’s films construct and transcend boundaries of many forms. Its chapters focus on his films’ representation of the physical body, French society and broader transnational contexts. Located somewhere between the arthouse and the B movie, the French and the transnational, the feminist and the patriarchal, the familiar and the new, this book reveals how Jacques Audiard’s characters and films reflect his own eternally shifting position, both within and beyond the imaginary of French cinema.

Abstract only
Contesting filiations
Julia Dobson

After substantial success as a screenplay writer, Jacques Audiard has directed some of the most engaging and enduring films of the last decade in France. His films, Regarde les hommes tomber (1994), Un héros très discret (1996) and Sur mes lèvres (2001), received critical recognition, yet he is often absent from canon-forming lists of contemporary French directors. This will undoubtedly change

in Five directors
Regarde les hommes tomber, Un prophète and Un héros très discret
Gemma King

oppressed yet enterprising underdog protagonist; toxic masculinities and hostile social environments; language used as a tool for exerting power and control; and restrictive socioeconomic and class barriers that characters struggle, but usually manage, to surmount. However, from De battre mon cœur s’est arrêté (2005) onwards, and especially in Un prophète (2009), Jacques Audiard’s France becomes

in Jacques Audiard
De battre mon coeur s’est arrêté, Sur mes lèvres and De rouille et d’os
Gemma King

Audiard est l’un des cinéastes qui filme le mieux le corps des hommes. (Nuttens, 2012 : 7) 1 The body, and the boundaries that can be transgressed by and within it, are essential to the cinema of Jacques Audiard. This is despite the fact that the

in Jacques Audiard
Abstract only
Gemma King

On a longtemps considéré Jacques Audiard comme le fils de Michel. Après Un prophète et De rouille et d’os , on se dit maintenant que Michel Audiard est le père de Jacques. (Kaganski, 2012 ) 1 Fingers

in Jacques Audiard
Dheepan and Les Frères Sisters
Gemma King

Jacques Audiard a toujours aimé aborder la tension entre la marge et la norme, l’exclusion et le désir d’appartenance. Avec Dheepan , il va plus loin que jamais dans cette recherche en s’intéressant à des personnages qui sont aussi étrangers que possible à la

in Jacques Audiard
Abstract only
Gemma King

perhaps more than any other filmmaker working in the French space today, Jacques Audiard is both the ideal subject to complement a book series named French Film Directors, and the ideal one to challenge it. Audiard is at once an archetypal French film director and one who tests the definitions of each of these terms. He is of French nationality, but he operates in an increasingly transnational and

in Jacques Audiard
Abstract only
Auteurism from Assayas to Ozon
Editor: Kate Ince

There have been vigorous debates about the condition and prospects of auteur cinema in France over the last decade, debates that seem mostly to have gone unreported in anglophone criticism of francophone cinema. But these have been paralleled by a revival of international debate about the status of the auteur: in their extended chapter on auteur cinema added to the second edition of Cook's The Cinema Book, Pam Cook and Mieke Bernink observe that this was definitely underway by 1995. This book summarises the development of auteurism as a field up to the 1990s, drawing particularly on Wright Wexman's historical overview. Georges Méliès was the first auteur. Following the advent of structuralism and structuralist approaches to narrative and communication in the mid 1960s, a type of auteurism was born that preserved a focus on authorship. The book presents an account of the development of Olivier Assayas' career, and explores this idea of what one might call 'catastrophe cinema'. Jacques Audiard's work reflects several dominant preoccupations of contemporary French cinema, such as an engagement with realism (the phenomenon of the 'new new wave') and the interrogation of the construction of (cultural) memory. The book then discusses the films of the Dardenne brothers and their documentaries. Michael Haneke's films can be read as a series of polemical correctives to the morally questionable viewing practices. An introduction to Ozon's films that revolve around the centrality of queer desire to his cinema, and the continual performative transformations of identity worked within it, is presented.

Abstract only
Kate Ince

significant factor in the continuing health of auteur cinema in recent years. 10 Assayas to Ozon: the auteurs The context of the careers and filmographies of three of the directors in this book – Olivier Assayas, Jacques Audiard and François Ozon – is the cinema of France. All Audiard’s feature films have been funded entirely by French production companies, and this is also true of the

in Five directors
Abstract only
The actor/auteur
Will Higbee

César nomination as most promising young actor – Kassovitz was cast in Jacques Audiard’s idiosyncratic noir thriller Regarde les hommes tomber (1994) (Vachaud 1994 : 40). In the film Kassovitz plays Johnny, an emotionally fragile, itinerant social misfit who is taken under the wing of Marx, an ageing, small-time criminal played by Jean-Louis Trintignant. Such was the critical impact of

in Mathieu Kassovitz