French Cinema in the 1980s is a set of critical essays on films
which help to focus on a particular theme whose roots are in the
1970s, and which extends beyond the 1980s into the 1990s: the
crisis of masculinity in contemporary French culture, and its
interrelationship with nostalgia. After an introduction which gives
a brief overview both of the crisis in the French film industry
during the 1980s, and of the socio-political crisis of masculinity
in the wake of 1970s feminism, there are three sections: the
retro-nostalgic film, which emerged during the 1980s, and two more
popular genres, the polar, or police thriller, and the comic film.
Each section begins with a brief preface which highlights the major
issues for the genre during the 1980s. The films discussed have all
been distributed outside France, and are in many cases commercially
available. The nostalgia section covers Un amour de Swann, Un
dimanche a la campagne, Jean de Florette/Manon des Sources, and
Coup de foudre. The section on the police thriller begins with
Truffaut's last film, Vivement dimanche!, and includes a chapter on
three thrillers by a variety of directors (La Balance, Police,
Detective). Its main focus, however, is on thrillers by the
directors of the cinema du look (Diva, Subway, Mauvais sang). The
last section on the comic film looks at three films which were
successful both in France and abroad: Trois hommes et un couffin
(remade in Hollywood as Three Men and a Baby), La Vie est un long
fleuve tranquille and, finally, Depardieu's gamble at
cross-dressing, Tenue de soiree.
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