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Many popular French films of the 1930s captured the world and
brought it into neighborhood cinemas for filmgoers who craved
adventure. These films often served as visual postcards from the
French empire, which enjoyed an unprecedented visibility in
domestic popular culture between the world wars. But the public
appetite for the exotic also transcended imperial borders.
Exoticist films displayed landscapes and different that lay beyond
the metropole, many of which were not subject to European rule.
This broad conception of the exotic meant that French narrative
cinema represented both colonial and non-colonial settings and
populations, developing a coherent set of tropes that were shaped,
yet not entirely defined, by the politics of imperial rule. Empire
alone cannot address the full range of the French exoticist
imaginary that was projected onto movie screens in the 30s. Only by
venturing beyond imperial boundaries can we fully understand how
the French saw non-Westerners and, by extension, how they saw
themselves during this tumultuous decade. Rogues, Romance, and
Exoticism in French Cinema of the 1930s proposes a critical
framework for exoticist cinema that includes and exceeds the limits
of empire. From rogue colons to the metisse in love, from the
deserts of North Africa to the streets of Shanghai, this book
identifies and analyzes recurring figures, common settings, major
stars, plot devices, and narrative outcomes that dominated
exoticist cinema at its popular peak.
Many popular French films of the 1930s captured the world and
brought it into neighborhood cinemas for filmgoers who craved
adventure. These films often served as visual postcards from the
French empire, which enjoyed an unprecedented visibility in
domestic popular culture between the world wars. But the public
appetite for the exotic also transcended imperial borders.
Exoticist films displayed landscapes and different that lay beyond
the metropole, many of which were not subject to European rule.
This broad conception of the exotic meant that French narrative
cinema represented both colonial and non-colonial settings and
populations, developing a coherent set of tropes that were shaped,
yet not entirely defined, by the politics of imperial rule. Empire
alone cannot address the full range of the French exoticist
imaginary that was projected onto movie screens in the 30s. Only by
venturing beyond imperial boundaries can we fully understand how
the French saw non-Westerners and, by extension, how they saw
themselves during this tumultuous decade. Rogues, Romance, and
Exoticism in French Cinema of the 1930s proposes a critical
framework for exoticist cinema that includes and exceeds the limits
of empire. From rogue colons to the metisse in love, from the
deserts of North Africa to the streets of Shanghai, this book
identifies and analyzes recurring figures, common settings, major
stars, plot devices, and narrative outcomes that dominated
exoticist cinema at its popular peak.
Drawing especially on the encounters and relationships that defined
her exceptional career, The Sustainable Legacy of Agnès Varda
outlines a sustainable legacy for the celebrated director and
visual artist. Over nine chapters, it unpacks how creation,
connection, and environment form the core of Varda’s artistry,
which centers foremost on relationships with her family, with other
artists, even with passersby she would meet in her travels around
the world. Also celebrating her feminist legacy, the chapters cover
a wide range, from the classic Cléo from 5 to 7 (1962) to
documentaries The Beaches of Agnès (2008) and Faces Places (2017)
as well as selected art installations. The book’s final section
is dedicated to teaching Varda’s work; here, ten scholars from
around the world consider how Varda’s art and feminist pedagogies
offer unique ways to bring crucial concepts into the classroom. By
seeking a sustainable praxis to discuss and teach Varda’s work,
and by making pedagogical concerns an explicit part of this
approach, this book argues that Varda’s insights about the nature
of creative work will inspire new generations of viewers and
audiences.
This book explores the intersection between adaptation studies and
what James F. English has called the "economy of prestige," which
includes formal prize culture as well as less tangible expressions
such as canon formation, fandom, authorship, and performance. The
chapters explore how prestige can affect many facets of the
adaptation process, including selection, approach, and reception.
The first section of this volume deals directly with cycles of
influence involving prizes such as the Pulitzer, the Man Booker,
and other major awards. The second section focuses on the juncture
where adaptation, the canon, and awards culture meet, while the
third considers alternative modes of locating and expressing
prestige through adapted and adaptive intertexts. This book will be
of interest to students and scholars of adaptation, cultural
sociology, film, and literature.
Drawing especially on the encounters and relationships that defined
her exceptional career, The Sustainable Legacy of Agnès Varda
outlines a sustainable legacy for the celebrated director and
visual artist. Over nine chapters, it unpacks how creation,
connection, and environment form the core of Varda’s artistry,
which centers foremost on relationships with her family, with other
artists, even with passersby she would meet in her travels around
the world. Also celebrating her feminist legacy, the chapters cover
a wide range, from the classic Cléo from 5 to 7 (1962) to
documentaries The Beaches of Agnès (2008) and Faces Places (2017)
as well as selected art installations. The book’s final section
is dedicated to teaching Varda’s work; here, ten scholars from
around the world consider how Varda’s art and feminist pedagogies
offer unique ways to bring crucial concepts into the classroom. By
seeking a sustainable praxis to discuss and teach Varda’s work,
and by making pedagogical concerns an explicit part of this
approach, this book argues that Varda’s insights about the nature
of creative work will inspire new generations of viewers and
audiences.
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