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Women From The Past In The Present: Image Of Women In French Cinema (2018) Comme Des Garçons And Bécassine !, Nagwane Marmouche

Journal of the Faculty of Arts (JFA)

Presenting the image of women in cinema certainly seems to be a very ambitious work given the extent of the field of research. We intend to present, within the framework of interdisciplinary studies, the image of women in French cinema in 2018 through events and cinematic performances. We will limit our analysis to two films representing two feminine figures from the past updated by different medium.The film entitled Comme des Garçons (April 2018) deals with the issue and history of the establishment of the first women's football team. Fact is mixed with fiction in this film to narrate in a …

“The Very Essence Of French Cinema”(?): Jacques Feyder’S Return To France, 1944–1948, Barry Nevin

Articles

No abstract provided.

Framing “L’Âme Des Personnages”: Performance And Affect In Jacques Feyder’S Pension Mimosas (1935), Barry Nevin

Articles

Although Jacques Feyder's authorial control over his productions and his direction of actors constituted two of the most widely appreciated aspects of his approach to filmmaking during his own lifetime, the impact of each on his mise en scene has received little critical attention. This article aims to remedy this oversight by linking both aspects in three stages: first, drawing on contemporary periodicals, recollections of Feyder's performers and his own writings, it illustrates Feyder's preoccupation with the creation of in-depth psychological portraits through his actors; second, focusing on Pension Mimosas (1935), it demonstrates that Feyder's technical style, although aligned closely …

Les Réalisatrices Et Le « Regard Masculin » Dans Le Cinéma Francophone, Arianna Kosakowski

Honors Theses

This thesis focuses on how the male gaze is confronted in French and Francophone cinema, particularly in the films of the female directors Celine Sciamma, Euzhan Palcy and Claire Denis. The male gaze is a look in cinema in which women are regarded generally as sexual objects. The male gaze renders women mostly relevant only to fulfill male sexual desires, and thus as weak or background characters with little to contribute to moving the narrative action along. All six films by the female directors analyzed in this thesis, however--Bande de filles and Tomboy (Sciamma), Rue case-nègres and A Dry …

'Elle T'Aime Trop, Et Moi, Pas Assez': Jacques Feyder's Melodramatic Mise En Scène Of Female Desire In Pension Mimosas (1935), Barry Nevin

Articles

Extract

Melodrama ‘à la française’: Feyder and French cinema of the 1930s

By the end of 1934, Jacques Feyder had led a distinguished career in French silent cinema, had directed a critically acclaimed adaptation of Émile Zola’s Thérèse Raquin (1928) in Berlin, had returned from a three-year contract in Hollywood, had brought Le Grand Jeu to the screen (the greatest box-office success of the 1933–34 season), and appeared to be virtually unstoppable as he proceeded to direct his next film, Pension Mimosas. The film was described by one critic as ‘sans aucun doute l’une des œuvres les plus attendues …

Sylvie Blum-Reid. Traveling In French Cinema. New York: Palgrave Macmillan, 2016., Anne V. Cirella-Urrutia

Studies in 20th & 21st Century Literature

Review of Sylvie Blum-Reid. Traveling in French Cinema. New York: Palgrave Macmillan, 2016. viii + 237 pp.

Les Débuts Du Réalisateur Mathieu Kassovitz : Problèmes Sociaux Et Portrait Des Années 1990 Dans La Comédie Romantique Métisse Et Le Film De Banlieue La Haine., Joanna Merkel

Vernacular: New Connections in Language, Literature, & Culture

Le cinéma de la décennie des années 90 est marqué par les débuts du réalisateur engagé Mathieu Kassovitz, avec en l’espace de deux ans deux films sortis sur les écrans, Métisse et La haine. Avec des problématiques centrées autour du multiculturalisme français et des tensions entre communautés, ces œuvres sont à cet égard ancrées dans l’actualité alors que la France subit depuis plus de trente ans une période de crise identitaire, où elle s’interroge sur la pérennité de son modèle d’intégration. En donnant voix aux marginalisés, Kassovitz renverse les dynamiques habituelles de pouvoir et permet de donner une plus …