"O'Shaughnessy's book succeeds in bringing to light a new tendency
in French political cinema, and as such will reward the attention
of those interested in political cinema as well as French cinema
more generally. The book also further opens up fertile terrain in
the 'aesthetic of the fragment'." . Senses of Cinema
"This volume is a major statement on contemporary politically
committed cinema. Its strength is that it proposes a careful
mapping of the field, teasing out different shades of commitment
within the films themselves, and showing the richness of
contemporary French cinema in its social-realist mode." . H-France
Reviews
"O'Shaughnessy has written a powerful and eloquent polemic for
retaining a class analysis of film. Theoretically sophisticated,
the book also provides a model of what form that analysis might
take, directing us to the signs of resistance which criticism can
make politically meaningful." . Cineaste
"His analysis is aptly articulated around influential French
theoretical frameworks...It is also usefully informed by the
critical debates of Cahiers du cinema and Positif. The book is
particularly engaging in its exploration of the strategies
mobilized to replace the politics of the past and open up possible
future channels." . French Studies
..".a persuasive survey of politics in current French cinema." .
Choice
Since 1995 there has been a widespread return of commitment to
French cinema taking it to a level unmatched since the heady days
following 1968. But this new wave of political film is very
different and urgently calls out for an analysis that will account
for its development, its formal characteristics and its
originality. This is what this book provides. It engages with
leading directors such as Cantet, Tavernier, Dumont, Kassovitz,
Zonca and Guediguian, takes in a range of less well known but
important figures and strays across the Belgian border to engage
with the seminal work of the Dardenne brothers. It shows how the
works discussed are helping to reinvent political cinema by finding
stylistic and narrative strategies adequate to the contemporary
context.
Martin O'Shaughnessy is Reader in French Cultural Studies at
Nottingham Trent University. He has written widely on French cinema
and is the author of Jean Renoir (Manchester University Press,
2000) and La Grande Illusion (I. B. Tauris, 2009) and co-editor of
Cinema et engagement (L'Harmattan, 2005)."
General
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