![]() ![]() The enduring strength of auteurism means that some areas, notably popular genres, are still underexplored. ![]() In particular, issues of gender, ethnic, and cultural identity came to the fore, as well as film and philosophy, together with a marked interest in contemporary cinema. Echoing the continuing spread of film studies courses and the buoyancy of French cinema, a third wave followed, with a discernible shift toward cultural and ideological approaches. In the 1980s and 1990s a “historical turn” generated influential studies-survey histories, anthologies, and accounts of specific periods and movements-in the United Kingdom, the United States, and France. A second wave followed the rise of academic film studies in the 1970s, initially with the accent on theory, and saw the internationalization of French cinema studies. In their wake auteurist works took off in the 1960s, as well as reflections on movements such as the New Wave and French cinema as a whole. Film critic André Bazin and his disciples (among them future New Wave filmmakers François Truffaut and Jean-Luc Godard) developed the politique des auteurs and wrote the first “serious” monographs about filmmakers-mostly American and French. A first wave emerged from the postwar cultural effervescence and the rise of cinephilia, with new journals such as Cahiers du Cinéma and Positif. Major works on French cinema, however, started to appear only after World War II. During that decade critics and historians, such as Georges Sadoul, began also to reflect on film history. In the 1920s, avant-garde filmmakers such as Louis Delluc and Jean Epstein started theorizing cinema’s specificity as a medium, while in the 1930s debates turned political. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.As befits the country of the cinema’s official “birth,” France boasts a long tradition of writing on film. Films discussed include: * masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis * popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud * landmarks of the New Wave such as Les 400 Coups and A bout de souffle * important films of the 1990s such as Nikita and La Haine The films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s.
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