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Saccharine for some, poignant for others, Jacques Demy's
'enchanted' world is familiar to generations of French audiences
accustomed to watching Christmas repeats of his fairytale Peau
d'ane (1970) or seeing Catherine Deneuve and Francoise Dorleac
prance and pirouette in Les Demoiselles de Rochefort (1966). Demy
achieved international recognition with Les Parapluies de Cherbourg
(1963), which was awarded the Palme d'Or at Cannes. However,
beneath the apparently sugary coating of his films lie more
philosophical reflections on some of the most pressing issues that
preoccupy Western societies, including affect, subjectivity,
self/other relations and free will. This wide-ranging book
addresses many of the key aspects of Demy's cinema, including his
associations with the New Wave, his unique approach to musicals,
his adaptations of fairytales, his representations of gender and
sexuality and his legacy as an iconic director for generations of
audiences and filmmakers. -- .
Saccharine for some, poignant for others, Jacques Demy's
'enchanted' world is familiar to generations of French audiences
accustomed to watching Christmas repeats of his fairytale Peau
d'ane (1970) or seeing Catherine Deneuve and Francoise Dorleac
prance and pirouette in Les Demoiselles de Rochefort (1966). Demy
achieved international recognition with Les Parapluies de Cherbourg
(1963), which was awarded the Palme d'Or at Cannes. However,
beneath the apparently sugary coating of his films lie more
philosophical reflections on some of the most pressing issues that
preoccupy Western societies, including affect, subjectivity,
self/other relations and free will. This wide-ranging book
addresses many of the key aspects of Demy's cinema, including his
associations with the New Wave, his unique approach to musicals,
his adaptations of fairytales, his representations of gender and
sexuality and his legacy as an iconic director for generations of
audiences and filmmakers. -- .
Headline: Examines how LGBT filmmaking in France and Spain moves
across borders and finds new audiences Blurb: The book advances the
current state of film audience research and of our knowledge of
sexuality in transnational contexts by analysing how French LGBTQ
films are seen in Spain and Spanish ones in France. It studies
films (in various media and platforms) and their reception across
four languages (Spanish, French, Catalan, English) and considers
and engages with participants from across a range of digital and
physical audience locations, with a particular focus on festivals.
It examines films that chronicle the local (in portraying national
and sub-national identities) and draws on the regional-global
(translating and transferring foreign models of non-heterosexual
experience). No comparative and crosscutting study with audience
research at its heart has yet been undertaken. Key Features: Offers
a full, clear, and comparative cultural history of LGBTQ film since
the 1990s in France and Spain and of its activist and
theory-inspired connections Has audience reception at the core,
working with an extensive corpus of responses Makes broad use of
social networking sites and the popular LGBTQ press to gauge
response Covers LGBTQ festivals including those in Barcelona,
Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is
interested in short, independent, ephemeral and documentary film
production as well as commercially-pitched feature films Looks at
the cross-border impact of the auteur and big-name directors (e.g.
Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets
its findings against mainstream LGBTQ critical reception, written
in Catalan, English, French, and Spanish Keywords: French cinema;
Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film
festivals Subject: Film Studies Headline: Examines how LGBT
filmmaking in France and Spain moves across borders and finds new
audiences Blurb: The book advances the current state of film
audience research and of our knowledge of sexuality in
transnational contexts by analysing how French LGBTQ films are seen
in Spain and Spanish ones in France. It studies films (in various
media and platforms) and their reception across four languages
(Spanish, French, Catalan, English) and considers and engages with
participants from across a range of digital and physical audience
locations, with a particular focus on festivals. It examines films
that chronicle the local (in portraying national and sub-national
identities) and draws on the regional-global (translating and
transferring foreign models of non-heterosexual experience). No
comparative and crosscutting study with audience research at its
heart has yet been undertaken. Key Features: Offers a full, clear,
and comparative cultural history of LGBTQ film since the 1990s in
France and Spain and of its activist and theory-inspired
connections Has audience reception at the core, working with an
extensive corpus of responses Makes broad use of social networking
sites and the popular LGBTQ press to gauge response Covers LGBTQ
festivals including those in Barcelona, Bilbao, London, Lyon,
Madrid, Manchester, Paris and Toulouse Is interested in short,
independent, ephemeral and documentary film production as well as
commercially-pitched feature films Looks at the cross-border impact
of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc
Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against
mainstream LGBTQ critical reception, written in Catalan, English,
French, and Spanish Keywords: French cinema; Spanish cinema;
audiences; LGBTQ cultures; lesbian and gay film festivals Subject:
Film Studies
Featuring a lineup of distinguished academics, this collection
remedies the absence of scholarly attention to French cinematic
legend Isabelle Huppert. This volume deconstructs Huppert’s star
persona and public profile through critical and theoretical
analysis of her various screen roles—from her very early
appearances alongside Romy Schneider in César et Rosalie (Sautet,
1972) and Gérard Depardieu in Les Valseuses (1974) to a number of
celebrated collaborations with high-profile European auteurs such
as Catherine Breillat, Claire Denis, Jean-Luc Godard, Michael
Haneke and Joseph Losey, and with more popular auteurs such as
Claude Chabrol and François Ozon. Known for a cerebral
internalization of characterization, a technical mastery of extreme
emotions, and a singular brand of icy intellectualism, Huppert’s
performances continue to impress, stun and surprise audiences. By
focusing on several theoretical questions that relate to image,
identity, sexuality and place, this volume situates Huppert’s
star persona in the more practical creative contexts of
performance, authorship, genre and collaboration. This volume
contrasts complementary critical accounts of her stardom by working
across the different periods and territories of her career.
Few European male actors have been as iconic and influential for
generations of filmgoers as Alain Delon. Emblematic of a modern,
European masculinity, Delon's appeal spanned cultures and
continents. From his breakthrough as the first on-screen Tom Ripley
in Purple Noon in 1960, through two legendary performances in Rocco
and His Brothers and The Leopard in the early 1960s, to his roles
in some of Jean-Pierre Melville's most celebrated films noirs,
Delon came to embody the flair and stylishness of the European
thriller as one of France's most recognizable film stars. This
collection examines the star's career, image and persona. Not only
focusing on his spectacular early performances, the book also
considers less well documented aspects of Delon's long career such
as his time in Hollywood, his work as director, producer and
screenwriter, his musical collaborations, his TV appearances, and
his enduring role as a fashion icon in the 21st century. Whether
the object of reverence or ridicule, of desire or disdain, Delon
remains a unique figure who continues to court controversy and
fascination more than five decades after he first achieved
international fame.
Featuring a lineup of distinguished academics, this collection
remedies the absence of scholarly attention to French cinematic
legend Isabelle Huppert. This volume deconstructs Huppert’s star
persona and public profile through critical and theoretical
analysis of her various screen roles—from her very early
appearances alongside Romy Schneider in César et Rosalie (Sautet,
1972) and Gérard Depardieu in Les Valseuses (1974) to a number of
celebrated collaborations with high-profile European auteurs such
as Catherine Breillat, Claire Denis, Jean-Luc Godard, Michael
Haneke and Joseph Losey, and with more popular auteurs such as
Claude Chabrol and François Ozon. Known for a cerebral
internalization of characterization, a technical mastery of extreme
emotions, and a singular brand of icy intellectualism, Huppert’s
performances continue to impress, stun and surprise audiences. By
focusing on several theoretical questions that relate to image,
identity, sexuality and place, this volume situates Huppert’s
star persona in the more practical creative contexts of
performance, authorship, genre and collaboration. This volume
contrasts complementary critical accounts of her stardom by working
across the different periods and territories of her career.
Few European male actors have been as iconic and influential for
generations of filmgoers as Alain Delon. Emblematic of a modern,
European masculinity, Delon's appeal spanned cultures and
continents. From his breakthrough as the first on-screen Tom Ripley
in Purple Noon in 1960, through two legendary performances in Rocco
and His Brothers and The Leopard in the early 1960s, to his roles
in some of Jean-Pierre Melville's most celebrated films noirs,
Delon came to embody the flair and stylishness of the European
thriller as one of France's most recognizable film stars. This
collection examines the star's career, image and persona. Not only
focusing on his spectacular early performances, the book also
considers less well documented aspects of Delon's long career such
as his time in Hollywood, his work as director, producer and
screenwriter, his musical collaborations, his TV appearances, and
his enduring role as a fashion icon in the 21st century. Whether
the object of reverence or ridicule, of desire or disdain, Delon
remains a unique figure who continues to court controversy and
fascination more than five decades after he first achieved
international fame.
Headline: Examines how LGBT filmmaking in France and Spain moves
across borders and finds new audiences Blurb: The book advances the
current state of film audience research and of our knowledge of
sexuality in transnational contexts by analysing how French LGBTQ
films are seen in Spain and Spanish ones in France. It studies
films (in various media and platforms) and their reception across
four languages (Spanish, French, Catalan, English) and considers
and engages with participants from across a range of digital and
physical audience locations, with a particular focus on festivals.
It examines films that chronicle the local (in portraying national
and sub-national identities) and draws on the regional-global
(translating and transferring foreign models of non-heterosexual
experience). No comparative and crosscutting study with audience
research at its heart has yet been undertaken. Key Features: Offers
a full, clear, and comparative cultural history of LGBTQ film since
the 1990s in France and Spain and of its activist and
theory-inspired connections Has audience reception at the core,
working with an extensive corpus of responses Makes broad use of
social networking sites and the popular LGBTQ press to gauge
response Covers LGBTQ festivals including those in Barcelona,
Bilbao, London, Lyon, Madrid, Manchester, Paris and Toulouse Is
interested in short, independent, ephemeral and documentary film
production as well as commercially-pitched feature films Looks at
the cross-border impact of the auteur and big-name directors (e.g.
Pedro Almodovar, Cesc Gay, Sebastien Lifshitz, Francois Ozon) Sets
its findings against mainstream LGBTQ critical reception, written
in Catalan, English, French, and Spanish Keywords: French cinema;
Spanish cinema; audiences; LGBTQ cultures; lesbian and gay film
festivals Subject: Film Studies Headline: Examines how LGBT
filmmaking in France and Spain moves across borders and finds new
audiences Blurb: The book advances the current state of film
audience research and of our knowledge of sexuality in
transnational contexts by analysing how French LGBTQ films are seen
in Spain and Spanish ones in France. It studies films (in various
media and platforms) and their reception across four languages
(Spanish, French, Catalan, English) and considers and engages with
participants from across a range of digital and physical audience
locations, with a particular focus on festivals. It examines films
that chronicle the local (in portraying national and sub-national
identities) and draws on the regional-global (translating and
transferring foreign models of non-heterosexual experience). No
comparative and crosscutting study with audience research at its
heart has yet been undertaken. Key Features: Offers a full, clear,
and comparative cultural history of LGBTQ film since the 1990s in
France and Spain and of its activist and theory-inspired
connections Has audience reception at the core, working with an
extensive corpus of responses Makes broad use of social networking
sites and the popular LGBTQ press to gauge response Covers LGBTQ
festivals including those in Barcelona, Bilbao, London, Lyon,
Madrid, Manchester, Paris and Toulouse Is interested in short,
independent, ephemeral and documentary film production as well as
commercially-pitched feature films Looks at the cross-border impact
of the auteur and big-name directors (e.g. Pedro Almodovar, Cesc
Gay, Sebastien Lifshitz, Francois Ozon) Sets its findings against
mainstream LGBTQ critical reception, written in Catalan, English,
French, and Spanish Keywords: French cinema; Spanish cinema;
audiences; LGBTQ cultures; lesbian and gay film festivals Subject:
Film Studies
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