Part romantic comedy, part sitcom, part social drama, L'Auberge espagnole (The Spanish Apartment) recounts a familiar 'youth' ritual - the move from university to 'the real world', the often complicated personal, romantic and cultural encounters that ensue, and the moral uncertainties that characterize that key biological and physiological developmental stage between adolescence and adulthood. French director Cedric Klapisch showcases the extraordinary colour and beauty of Barcelona's architecture, and places his hero Xavier at the heart of this smartly written film, which makes a series of wry observations on educational exchange programmes, multi-culturalism, and the direction European youth might take in the twenty-first century. This book addresses the topic of Europe's youth generation, paying particular attention to the ways in which the film depicts the transition from adolescence to adulthood as allegory for the experiences of European society as it moves through periods of readjustment towards uncertain futures. It also looks into the ecosystem of contemporary French cinema, the Erasmus programme and its influence on youth experience, and identity politics in relation to 'nationhood' and 'European-ness'. The book also examines the two sequels to the film - Russian Dolls (2005) and Chinese Puzzle (2013) - and how the complications faced by the main characters across the trilogy suggest that the move to adulthood is a never-ending process of growing up and reaching a level of self-actualization.

Part romantic comedy, part sitcom, part social drama, L'Auberge espagnole (The Spanish Apartment) recounts a familiar 'youth' ritual - the move from university to 'the real world', the often complicated personal, romantic and cultural encounters that ensue, and the moral uncertainties that characterize that key biological and physiological developmental stage between adolescence and adulthood. French director Cedric Klapisch showcases the extraordinary colour and beauty of Barcelona's architecture, and places his hero Xavier at the heart of this smartly written film, which makes a series of wry observations on educational exchange programmes, multi-culturalism, and the direction European youth might take in the twenty-first century. This book addresses the topic of Europe's youth generation, paying particular attention to the ways in which the film depicts the transition from adolescence to adulthood as allegory for the experiences of European society as it moves through periods of readjustment towards uncertain futures. It also looks into the ecosystem of contemporary French cinema, the Erasmus programme and its influence on youth experience, and identity politics in relation to 'nationhood' and 'European-ness'. The book also examines the two sequels to the film - Russian Dolls (2005) and Chinese Puzzle (2013) - and how the complications faced by the main characters across the trilogy suggest that the move to adulthood is a never-ending process of growing up and reaching a level of self-actualization.

This book provides an in-depth analysis of what it means to be the first in family at university. It examines the factors that influence first in family students' decisions to enrol, attend and continue at university, and how their hopes, dreams and ambitions for the future affect their university experience. Using survey data and semi-structured interviews, the book offers valuable and far-reaching insights into the first in family student experience, and provides recommendations for future practice at the national and institutional level for teaching and professional staff as well as for first in family students. As universities face intense competition for students and growing economic constraints due to funding cuts and increasing costs, this book comes at a critical time.

Michael Haneke is one of the most important directors working in Europe today, with films such as "Funny Games" (1997), "Code Unknown" (2000), and "Hidden" (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of "The Seventh Continent" (1989) and "Time of the Wolf" (2003) a dark strain of optimism emerges, releasing each from its terrible and inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of "The Piano Teacher" (2001), and the 2007 shot-for-shot remake of "Funny Games."

This book is the first ever English-language study of Julien Duvivier (1896-1967), once considered one of the world's great filmmakers. It provides new contextual and analytical readings of his films that identify his key themes and techniques, trace patterns of continuity and change, and explore critical assessments of his work over time. His career began in the silent era and ended as the French New Wave was winding down. In between, Duvivier made over sixty films in a long and at times difficult career. He was adept at literary adaptation, biblical epic, and film noir, and this groundbreaking volume illustrates in great detail Duvivier's eclecticism, technical efficiency and visual fluency in works such as Panique (1946) and Voici le temps des assassins (1956). It will particularly appeal to scholars and students of French cinema looking for examples of a director who could straddle the realms of the popular and the auteur. -- .

Michael Haneke is one of the most important directors working in Europe today, with films such as "Funny Games" (1997), "Code Unknown" (2000), and "Hidden" (2005) interrogating modern ethical dilemmas with forensic clarity and merciless insight. Haneke's films frequently implicate both the protagonists and the audience in the making of their misfortunes, yet even in the barren nihilism of "The Seventh Continent" (1989) and "Time of the Wolf" (2003) a dark strain of optimism emerges, releasing each from its terrible and inescapable guilt. It is this contingent and unlikely possibility that we find in Haneke's cinema: a utopian Europe. This collection celebrates, explicates, and sometimes challenges the worldview of Haneke's films. It examines the director's central themes and preoccupations--bourgeois alienation, modes and critiques of spectatorship, the role of the media--and analyzes otherwise marginalized aspects of his work, such as the function of performance and stardom, early Austrian television productions, the romanticism of "The Piano Teacher" (2001), and the 2007 shot-for-shot remake of "Funny Games."

This book is the first ever English-language study of Julien Duvivier (1896-1967), once considered one of the world's great filmmakers. It provides new contextual and analytical readings of his films that identify his key themes and techniques, trace patterns of continuity and change, and explore critical assessments of his work over time. His career began in the silent era and ended as the French New Wave was winding down. In between, Duvivier made over sixty films in a long and at times difficult career. He was adept at literary adaptation, biblical epic, and film noir, and this groundbreaking volume illustrates in great detail Duvivier's eclecticism, technical efficiency and visual fluency in works such as Panique (1946) and Voici le temps des assassins (1956). It will particularly appeal to scholars and students of French cinema looking for examples of a director who could straddle the realms of the popular and the auteur. -- .

French film design throughout the 1930s was not just descriptive, but also expressive: sets were not merely part of the background, but were vital components of a film's overall atmosphere, impact and critical afterlife. This was a period when sets were 'ripped open', as painted backdrops were replaced by three-dimensional constructions to ensure greater proximity to reality. Accomplished set designers such as Alexandre Trauner, Jacques Krauss and Eugene Lourie crafted a series of designs both realist and expressionistic that brought out the underlying themes of a film's narrative and helped create an exportable vision of 'Frenchness' that influenced other European and American film design practices. This book details the elaborate paraphrasing tendencies of French film design in the 1930s. The author explores the crucial role of the set designer in the film's evolutionary process and charts how the rapid development of studio practices enabled designers to become progressively more ambitious. The book examines key films such as Quatorze juillet (1932), Un Carnet de bal (1937), La Grande illusion (1937) and Le Jour se leve (1939) to demonstrate how set design works at establishing time and place, generating audience familiarity and recognition and underpinning each film's visual style.

Exploring the multiple aesthetic and cultural links between French and Japanese cinema, The Cinematic Influence is packed with vivid examples and case studies of films by Akira Kurosawa, Jean-Luc Godard, Hirokazu Kore-eda, Claire Denis, Naomi Kawase, Michel Gondry and many others. It illustrates the vast array of cinematic connections that mark a long history of mutual influence and reverence between filmmakers in France and Japan. The book provides new insights into the ways that national cinemas resist Hollywood to maintain and strengthen their own cultural practices and how these national cinemas perform the task of informing and enlightening other cultures about what it means to be French or Japanese. This book also deepens our understandings of film's role as a viable cultural and economic player in individual nations. Importantly, the reader will see that film operates as a form of cultural exchange between France and Japan, and more broadly, Europe and Asia. This is the first major book to investigate the crossover between these two diverse national cinemas by tracking their history of shared narrative and stylistic techniques.

Le Jour se leve (1939) directed by Marcel Carne, is widely recognised as the classic French Poetic Realist film. Told in flashback, it recounts the story of a man who has committed a murder, and who awaits his fate as the police close in. Carne shuttles between different registers, tones and textures throughout, marshalling the studio's resources to create striking pictorial compositions. The film also contains the great French star Jean Gabin's most iconic performance as Francois, marooned at the top of his apartment building. Ben McCann's perceptive and lively book traces the evolution of Le Jour se leve and situates it in a very specific historical moment. He also underlines the importance of actors Jules Berry and Arletty, production designer Alexandre Trauner, writer Jacques Prevert and cinematographer Curt Courant in establishing the film's tone, mood and visual style. He charts the national and international reception of the film, uncovering a work that deeply divided critics at a time of national crisis. He also reveals Le Jour se leve to be a key transitional work between European and American noir and compares it with the 1947 Hollywood remake. Highlighting its combination of the 'poetic' and the 'realist' this book finally stresses how Le Jour se leve represents the very best of pre-war French studio filmmaking.

The articles in this volume are the reworkings of papers given at the second joint postgraduate colloquium organised by the department of French at the University of Bristol and the University of Exeter in July 1999. The volume offers a varied but cohesive exploration of the transposition of the political message into art, from the sixteenth century to the present day. It reveals the importance of discourse in political narratives, the close link between religion and ideology across the centuries and how violence is very often the key to political transformation. It is at the margins that the political is most evident, margins of realism, margins of narrative, margins of society. Are all texts political? This depends on the definition of the word but the conclusion to the colloquium was that whatever form the political may take, rewriting it means not only redefining the political but ultimately also rewriting the historical.