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Film and television offer important insights into social outlooks
on borders in France and Europe more generally. This book
undertakes a visual cultural history of contemporary borders
through a film and television tour. It traces on-screen borders
from the Gare du Nord train station in Paris to Calais, London,
Lampedusa and Lapland. It contends that different types of
mobilities and immobilities (refugees, urban commuters, workers in
a post-industrial landscape) and vantage points (from borderland
forests, ports, train stations, airports, refugee centers) are all
part of a complex French and European border narrative. It covers a
wide range of examples, from popular films and TV series to auteur
fiction and documentaries by well-known directors from across
Europe and beyond. -- .
Gott examines Eliot's The Waste Land (1922) in conjunction with
Gustave Flaubert's La Tentation de Saint Antoine (1874). He
provides a highly original reading of both texts and argues that a
stylistic affinity exists between the two works.
Whilst T.S. Eliot's status as a canonical modernist poet is secure,
his legacy remains the subject of much critical debate. Gott
examines Eliot's 'The Waste Land' (1922) in conjunction with
Gustave Flaubert's 'La Tentation de Saint Antoine' (1874). He
provides a highly original reading of both texts and argues that a
stylistic affinity exists between the two works, which derives from
the authors' shared fascination for the ascetic saint.
This is the first collection of essays about French-language road
movies, a particularly rich yet critically neglected cinematic
category. These films, the contributors argue, offer important
perspectives on contemporary French ideas about national identity,
France's former colonies, Europe, and the rest of the world. Taken
together, the essays illustrate how travel and road motifs have
enabled directors of various national origins and backgrounds to
reimagine space and move beyond simple oppositions such as Islam
and secularism, local and global, home and away, France and Africa,
and East and West.
ReFocus: The Films of Rachid Bouchareb is the first book-length
study of the internationally recognized director's films. Bouchareb
was one of France's first filmmakers of North African descent and
his career as a director and producer now spans over thirty-five
years. Remarkably varied in their themes, formal elements and
narrative settings, Bouchareb's work has engaged with and reflected
on a variety of crucial social, political and historical issues;
from the role of colonial troops in the French army during the
Second World War, to terrorism in contemporary Europe. This volume
examines Bouchareb's films from an interdisciplinary perspective,
exploring key influences on his output and considering new
theoretical approaches to his filmmaking.
Over the past two decades road cinema has become an increasingly
popular form of expression for European directors. Focusing on a
corpus of films from France, Belgium and Switzerland, including
works by Ismael Ferroukhi, Bouli Lanners, Aki Kaurismaki and
Jacqueline Audry amongst many others, French-language Road Cinema
contends that nowhere is the impulse to remap the spaces and
identities of 'New Europe' more evident than in French-language
cinema. Drawing on mobility studies, cultural geography and film
theory, this innovative work sketches out the flexible yet
distinctive parameters of contemporary French-language road cinema,
and argues for an understanding of the 'road movie' not as a genre
but as a thematic and formal template that crosses cinematic
categories to bring together a wide array of films that narrate the
movements of migrants, tourists and business executives.
ReFocus: The Films of Rachid Bouchareb is the first book-length
study of the internationally recognized director's films. Bouchareb
was one of France's first filmmakers of North African descent and
his career as a director and producer now spans over 35 years.
Remarkably varied in their themes, formal elements and narrative
settings, Bouchareb's work has engaged with and reflected on a
variety of crucial social, political and historical issues; from
the role of colonial troops in the French army during the Second
World War, to terrorism in contemporary Europe. This volume
examines Bouchareb's films from an interdisciplinary perspective,
exploring key influences on his output and considering new
theoretical approaches to his filmmaking.
Twenty-five years have passed since the fall of the Berlin Wall and
the end of communism in Eastern Europe, and ten years have passed
since the first formerly communist states entered the EU. An entire
post-Wall generation has now entered adulthood, yet scholarship on
European cinema still tends to divide the continent along the old
Cold War lines. In East, West and Centre the world's leading
scholars in the field assemble to consider the ways in which
notions such as East and West, national and transnational, central
and marginal are being rethought and reframed in contemporary
European cinema. Assessing the state of post-1989 European cinema,
from (co)production and reception trends to filmic depictions of
migration patterns, economic transformations and socio-political
debates over the past and the present, they address increasingly
intertwined cinema industries that are both central (France,
Germany) and marginal (Romania, Bulgaria, Lithuania) in Europe.
This is a ground-breaking and essential read, not just for students
and scholars in Film and Media Studies, but also for those
interested in wider European Studies as well.
The first book devoted to a wide-ranging study of developments in
global French-language cinema, from Quebec to Mauritania and from
Belgium to Cambodia, Cinema-monde picks up on the lively scholarly
debates generated by the related topic of litterature-monde.
Extending the scope of this debate to cover the thriving and
diverse area of international French-language cinema, this
innovative book also considers cinema from France within the
context of global production. With contributions from an
international range of specialists, and with considerations of
works by contemporary directors like Rachid Bouchareb, Abderrahmane
Sissako and Rithy Panh, Cinema-monde explores the porous borders
around francophone spaces and the ways in which languages and
identities 'travel' in contemporary cinema.
A wide-ranging study of developments in global French-language
cinemaThe first book devoted to a wide-ranging study of
developments in global French-language cinema, from Quebec to
Mauritania and from Belgium to Cambodia, 'Cinema-monde' picks up on
the lively scholarly debates generated by the related topic of
litterature-monde. Extending the scope of this debate to cover the
thriving and diverse area of international French-language cinema,
this innovative book also considers cinema from France within the
context of global production. With contributions from an
international range of specialists, and with considerations of
works by contemporary directors like Rachid Bouchareb, Abderrahmane
Sissako and Rithy Panh, 'Cinema-monde' explores the porous borders
around francophone spaces and the ways in which languages and
identities 'travel' in contemporary cinema.ContributorsJoseph Mai
(Clemson University)Mireille Rosello (University of Amsterdam)Laura
Reeck (Allegheny College)Dayna Oscherwitz (Southern Methodist
University)Leslie Kealhofer-Kemp (University of Rhode
Island)Michael Gott (University of Cincinnati)Vlad Dima (University
of Wisconsin) Gemma King (The University of Melbourne)Thibaut
Schilt (College of the Holy Cross)Leila Ennaili (Central Michigan
University)Alison Rice (University of Notre Dame)Jaime Steele
(University of Exeter)Michelle Stewart (SUNY-Purchase)Carina
Yervasi (Swarthmore College)Bill Marshall (University of
Stirling)Lucy Mazdon (University of Southampton)Will Higbee
(University of Exeter)
Over the past two decades road cinema has become an increasingly
popular form of expression for European directors. Focusing on a
corpus of films from France, Belgium and Switzerland, including
works by Ismael Ferroukhi, Bouli Lanners, Aki Kaurismaki and
Jacqueline Audry amongst many others, French-language Road Cinema
contends that nowhere is the impulse to remap the spaces and
identities of 'New Europe' more evident than in French-language
cinema. Drawing on mobility studies, cultural geography and film
theory, this innovative work sketches out the flexible yet
distinctive parameters of contemporary French-language road cinema,
and argues for an understanding of the 'road movie' not as a genre
but as a thematic and formal template that crosses cinematic
categories to bring together a wide array of films that narrate the
movements of migrants, tourists and business executives.
Twenty-five years have passed since the fall of the Berlin Wall and
the end of communism in Eastern Europe, and ten years have passed
since the first formerly communist states entered the E.U. An
entire post-Wall generation has now entered adulthood, yet
scholarship on European cinema still tends to divide the continent
along the old Cold War lines.
In East West and Centre the world's leading scholars in the field
assemble to consider the ways in which notions such as East and
West, national and transnational, central and marginal are being
rethought and reframed in contemporary European cinema. Assessing
the state of post-1989 European cinema, from (co)production and
reception trends to filmic depictions of migration patterns,
economic transformations and socio-political debates over the past
and the present, they address increasingly intertwined cinema
industries that are both central (France and Germany) and marginal
in Europe (Romania, Bulgaria, Lithuania).
This is a ground-breaking and essential read, not just for students
and scholars in film and media studies, but also for those
interested in wider European studies as well.
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