مطالعه سینمای فرانسه

Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague ( Les 400 coups, 1959) to contemporary documentary ( Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age ( Les 400 coups, L'Argent de poche ); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants ); transnational production practices ( Le Pacte des loups ); and popular cinema, comedy and gender issues (e.g. Le Diner de cons ). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside. "Taking a text-led approach, with some emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Beginning with an introduction that itself serves as a primer on the history of French cinema, each of the succeeding ten chapters focuses on one or more key films, from the ground-breaking films of the Nouvelle Vague (À bout de souffle) to contemporary documentary (Être et avoir), and puts them into their relevant contexts. These include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (for example, the films of Jean-Luc Godard and Agnès Varda); the representation of recent French history (Lacombe, Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Dîner de cons). Each film is embedded in its cultural and political context. Taken together, the historical discussions provide an overview of post-war French history to the present, making Studying French Cinema an invaluable introduction to one of the richest of all national cinemas"--Abstract Taking A Text-led Approach, With The Emphasis On More Recent Popular Films, 'studying French Cinema' Is Directed At Non-specialists Such As Students Of French, Film Studies, And The General Reader With An Interest In Post-war French Cinema. Each Of The Chapters Focuses On One Or More Key Films From The Ground-breaking Films Of The Nouvelle Vague (les 400 Coups, 1959) To Contemporary Documentary (etre Et Avoir, 2002) And Puts Them Into Their Relevant Contexts. Depending On The Individual Film, These Include Explorations Of Childhood, Adolescence And Coming Of Age (les 400 Coups, L'argent De Poche); Auteur Ideology And Individual Style (the Films Of Jean-luc Godard And Agnes Varda); The Representation Of Recent French History (lacombe Lucien And Au Revoir Les Enfants); Transnational Production Practices (le Pacte Des Loups); And Popular Cinema, Comedy And Gender Issues (e.g.le Diner De Cons). Each Film Is Embedded In Its Cultural And Political Context. By Isabelle Vanderschelden. Includes Bibliographical References And Index. Includes Filmography: P. 242-245. "Taking a text-led approach, with the emphasis on more recent popular films, 'Studying French Cinema' is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the Nouvelle Vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context"--Quatrième de couverture Taking a text-led approach, with some emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films, from the ground-breaking films of the Nouvelle Vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnès Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Dîner de cons). Each film is embedded in its cultural and political context Adopting a textual approach, with an emphasis on recent popular films, Studying French Cinema is geared toward nonspecialists studying French and film studies, as well as the general reader who might be interested in postwar French cinema. Each chapter focuses on one or more key films, from the groundbreaking output of the Nouvelle Vague ( Les 400 coups , 1959) to contemporary documentaries ( Etre et avoir , 2002) and situates these works within explorations of childhood, adolescence, and coming of age; auteur ideology and individual style; the representation of rec