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French War Films and National Identity (Hardcover, New)
Loot Price: R2,950
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French War Films and National Identity (Hardcover, New)
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The relationship of French national identity to its cinema is a
well-established field. Yet so far, most studies have either taken
a broad historical approach or focused on a particular director or
period. Using various theoretical approaches, this book
investigates an area that is--as of today--either ill or untreated
by scholars: what is the relationship of film form to the
historical and social reflections of a given work, whether they be
overt or hidden? To answer this question, Noah McLaughlin conducts
a close formal analysis of ten French war films from across the
twentieth century. His subjects range from Abel Gance's 1919
J'Accuse to Jean-Pierre Jeunet's 2004 Un long dimanche de
fianailles and his theoretical approaches change to best examine
each one. This study builds upon the broader histories of French
cinema by Alan Williams (Republic of Images) and Susan Hayward
(French National Cinema). Its approaches to the intersection of
cinema and history owe a particular debt to Robert Rosentstone
(Film on History/History on Film). There are very few book-length
studies of French films about war. A close look at French cinematic
explorations of war gives us a glimpse at the evolution of French
identity over the course of the 20th century. It equally
illuminates the story of how that nation's cinema has spent the
past hundred years growing up: from its first steps leaning upon
the coffee table of older literary conventions to its current
adulthood as a means of cultural expression and critical
exploration. One significant challenge is that the French war film
is quite different from its Anglo-American counterpart. This book
works through to a useful definition. It is a kind of cinematic
creation that treats through form or content real armed conflicts
that have significance in French history. The genre is often hybrid
in nature and frequently uses metaphor. Its subjects are most often
characterized collectively and in order to understand the past,
psychology is emphasized over physical violence. Its plot structure
is frequently non-linear and other forms over time have developed
to place modernist historiography in doubt. Increasingly
sophisticated, it has attained a point where historic meditations
are often seamlessly but visibly integrated into both form and
content. This is an important book for people interested in film
studies and French studies as well as historians and
historiographers.
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