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'Georges Franju' is the fullest study to date of this little-known
French director, the co-founder of the Cinematheque francaise, and
the first book on him in English since 1967. Born in 1912, but only
enjoying his real debut as a director in 1948 with his notorious
documentary about Parisian abattoirs 'Le Sang des betes', Franju
went on to make thirteen more courts metrages and eight longs
metrages, including his horror classic 'Les Yeux sans visage'. Ince
takes a new approach to Franju's films, investigating the areas of
genre and gender, and grouping the films thematically rather than
chronologically. A chapter on Franju's cinematic aesthetics offers
a new synthesis of existing writings, combined with the author's
responses to the films. A full introduction and conclusion set
Franju's directorial career in the context of his lifelong
commitment to France's cinema institutions. 'Georges Franju' will
be essential reading on Franju, and of great interest to
researchers, academics and students in film studies -- .
Auteurism - the idea that a director of a film is its source of
meaning and should retain creative control over the finished
product - has been one of film studies' most important paradigms
ever since the French New Wave of the late 1950s and early 1960s,
and the adoption of the term 'auteur' by Andrew Sarris. Through the
popular, controversial and critically acclaimed films of Olivier
Assayas, Jacques Audiard, the Dardenne brothers, Michael Haneke and
Francois Ozon, this book looks into how the meaning of 'auteur' has
changed over this half-century, and assesses the current state of
Francophone auteur cinema. It combines French philosophical and
sociological approaches with methodologies from the Anglo-American
fields of gender studies, queer theory and postmodernism. This
volume will be of interest to researchers and students of film
studies, European cinema and French and Francophone studies, as
well as to film enthusiasts. -- .
Bringing together seminal writings on Beckett from the 1950s and
1960s with critical readings from the 1980s and 1990s, this
collection is inspired by a wide variety of literary-theoretical
approaches and covers the whole range of Beckett's creative work.
Following an up-to-date review and analysis of Beckett criticism,
fifteen extracts of Beckett criticism are introduced and set in
context by editors' headnotes. The book aims to make easily
accessible to students and scholars stimulating and innovative
writing on the work of Samuel Beckett, representing the wide range
of new perspectives opened up by contemporary critical theory:
philosophical, political and psychoanalytic criticism, feminist and
gender studies, semiotics, and reception theory.
Bringing together seminal writings on Beckett from the 1950s and
1960s with critical readings from the 1980s and 1990s, this
collection is inspired by a wide variety of literary-theoretical
approaches and covers the whole range of Beckett's creative work.
Following an up-to-date review and analysis of Beckett criticism,
fifteen extracts of Beckett criticism are introduced and set in
context by editors' headnotes. The book aims to make easily
accessible to students and scholars stimulating and innovative
writing on the work of Samuel Beckett, representing the wide range
of new perspectives opened up by contemporary critical theory:
philosophical, political and psychoanalytic criticism, feminist and
gender studies, semiotics, and reception theory.
Since 2007 Mia Hansen-Love has directed a series of meditative film
dramas about families, love, vulnerability and growing up, all of
them exceptionally attentive to film's ability to convey the
passing of time, separation and loss. As the first book-length
study of the films of Mia Hansen-Love, this volume introduces her
cinema to both an academic and a general readership. Exploring her
move from acting, via criticism, to directing, the book first
investigates the complexity of her situation as a female auteur
based in France. With detailed readings of her films up to Maya
(2018), it then examines the precariousness of their families,
their emphasis on vulnerability, failure, adversity and resilience,
the particular candour of Hansen-Love's filming style, and the
vital parts played by music and time in her cinema. It concludes
that her cinema may best be regarded as a thoroughly contemporary
one, distinguished by a tendency to transcendence that is both
ethical and aesthetic.
Since 2007 Mia Hansen-Love has directed a series of meditative film
dramas about families, love, vulnerability and growing up, all of
them exceptionally attentive to film's ability to convey the
passing of time, separation and loss. As the first book-length
study of the films of Mia Hansen-Love, this volume introduces her
cinema to both an academic and a general readership. Exploring her
move from acting, via criticism, to directing, the book first
investigates the complexity of her situation as a female auteur
based in France. With detailed readings of her films up to Maya
(2018), it then examines the precariousness of their families,
their emphasis on vulnerability, failure, adversity and resilience,
the particular candour of Hansen-Love's filming style, and the
vital parts played by music and time in her cinema. It concludes
that her cinema may best be regarded as a thoroughly contemporary
one, distinguished by a tendency to transcendence that is both
ethical and aesthetic.
Since the 1980s the number of women regularly directing films has
increased significantly in most Western countries: in France,
Claire Denis and Catherine Breillat have joined Agnes Varda in
gaining international renown, while British directors Lynne Ramsay
and Andrea Arnold have forged award-winning careers in feature
film. This new volume in the Thinking Cinema series draws on
feminist theorists and critics from Simone de Beauvoir on to offer
readings of a range of the most important and memorable of these
films from the 1990s and 2000s, focusing as it does so on how the
films convey women's lives and identities.Mainstream entertainment
cinema traditionally distorts the representation of women,
objectifying their bodies, minimizing their agency,and avoiding the
most important questions about how cinema can 'do justice' to
female subjectivity: Kate Ince suggests that the films of
independent women directors are progressively redressing the
balance, and thereby reinvigorating both the narratives and the
formal ambitions of European cinema. Ince uses feminist
philosophers to cast a new veil over such films as Sex Is Comedy,
Morvern Callar, White Material, and Fish Tank; and includes a
timeline ofdevelopments in women's film-making and feminist film
theory from 1970 to 2011.
This fascinating study explores the pleasures and torments of love
and sexuality as depicted in the works of six important French
women writers: Rachilde, Colette, Leduc, Wittig, Cixous and Duras.
Historically, erotic literature has been dominated by male writers.
Feminist critics have argued that its central motifs of voyeurism,
sadomasochism, incest and violence to women's bodies are governed
by the unconscious fantasies and prejudices of a patriarchal
sociocultural order.
The contributors question how this sociocultural order has affected
the erotic writing of the women writers studied. They explore the
opportunities for, and constraints on, women's erotic writing in
the early to mid-twentieth century through the works of Rachilde,
Colette and Leduc. This is contrasted with the writing of prominent
contemporary authors -- Wittig, Cixous and Duras -- to reveal new
developments and diversification within the genre. The focus
throughout is on how these writers deal with erotic language and
rhetoric, their treatment of traditional themes of eroticism, and
-- most vital to recent feminist criticism and theory -- their
vision of the female body and women's sexual pleasure. The book
provides key insights into the development of women's erotic
discourse throughout this century and the diversity that
characterizes it.
'Georges Franju' is the fullest study to date of this little-known
French director, the co-founder of the Cinematheque francaise, and
the first book on him in English since 1967. Born in 1912, but only
enjoying his real debut as a director in 1948 with his notorious
documentary about Parisian abattoirs 'Le Sang des betes', Franju
went on to make thirteen more courts metrages and eight longs
metrages, including his horror classic 'Les Yeux sans visage'. Ince
takes a new approach to Franju's films, investigating the areas of
genre and gender, and grouping the films thematically rather than
chronologically. A chapter on Franju's cinematic aesthetics offers
a new synthesis of existing writings, combined with the author's
responses to the films. A full introduction and conclusion set
Franju's directorial career in the context of his lifelong
commitment to France's cinema institutions. 'Georges Franju' will
be essential reading on Franju, and of great interest to
researchers, academics and students in film studies -- .
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