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.
Rezensionen / Stimmen
Cinema-monde: Decentred Perspectives on Global Filmmaking in French offers a rich, timely and thought-provoking examination of the theoretical, linguistic, cultural, aesthetic, ethical and economic dimensions of cinema-monde that will prove invaluable for researchers and students of French and Film Studies. -- Kaya Davies Hayon, University of Lincoln * H-France Review Vol. 20 (July 2020), No. 139 * Cinema-monde: Decentred Perspectives on Global Filmmaking in French offers a rich, timely and thought-provoking examination of the theoretical, linguistic, cultural, aesthetic, ethical and economic dimensions of cinema-monde that will prove invaluable for researchers and students of French and Film Studies. -- Kaya Davies Hayon, University of Lincoln * H-France Review Vol. 20 (July 2020), No. 139 * [...] offers a fresh point of view on French-language cinema and provides a strong foundation on which we can expect to see future use of this idea. -- Peadar Kearney Maynooth University * IJFrS 19 (2019) * [...] offers a fresh point of view on French-language cinema and provides a strong foundation on which we can expect to see future use of this idea. -- Peadar Kearney, Maynooth University * IJFrS 19 (2019) *
Sprache
Verlagsort
Zielgruppe
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
25 black and white illustrations
Maße
Höhe: 229 mm
Breite: 152 mm
Dicke: 23 mm
Gewicht
ISBN-13
978-1-4744-3184-2 (9781474431842)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Michael Gott is Associate Professor of French and Film and Media Studies at the University of Cincinnati, where he teaches courses in European Studies, Film and Media Studies, and French-language culture and cinema. He is the author of French-language Road Cinema: Borders, Diasporas and 'New Europe' (EUP, 2016) and co-edited Cinema-monde: Decentred Perspectives on Global Filmmaking in French (EUP, 2018), Open Roads, Closed Borders: the Contemporary French-Language Road Movie (Intellect, 2013) and East, West and Centre: Reframing European Cinema Since 1989 (EUP, 2014). Thibaut Schilt is Associate Professor of French at the College of the Holy Cross in Massachusetts, where he teaches courses in francophone and European cinema, gender studies, and French language and culture. He is the author of the monograph Francois Ozon (University of Illinois Press, 2011). In 2013, he co-edited with Michael Gott the volume Open Roads, Closed Borders: the Contemporary French-Language Road Movie, published with Intellect Press. He has published several articles on French-language road movies and queer cinema.
Herausgeber*in
Assistant Professor of FrenchUniversity of Cincinnati
Associate Professor of FrenchCollege of the Holy Cross
Introduction: The Kaleidoscope of Cinema-monde
Section I. From Local to Global: The Cinema(s)-monde(s) of Auteurs and Actors
Chapter 1- Joseph Mai: 'Site 2: Style and Encounter in Rithy Panh's cinema-monde'
Chapter 2- Mireille Rosello: 'Globalization, Cinema and Terrorism in Rachid Bouchareb's Films: London River, Baton Rouge and Little Senegal'
Chapter 3- Laura Reeck: 'Guerrilla Filmmaking with Rachid Djaidani'
Chapter 4- Dayna Oscherwitz: 'Globalization, Cinema-monde, and the Work of Abderrahmane Sissako'
Chapter 5- Leslie Kealhofer-Kemp: 'The Career of Actress Hafsia Herzi: Crossing Borders, Challenging Barriers'
Section II. Voyages, Limits and Borders
Chapter 6- Michael Gott: 'Lost at Sea or Charting a New Course? Mapping the Murky Contours of Cinema-monde in Floating Francophone Films'
Chapter 7- Vlad Dima 'The Beautiful Fantasy: Imaginary Representations of Football in West-African Cinema'
Chapter 8- Gemma King: Merry Christmas in No Man's Land: European Borders, Language Barriers and Front Lines in Christian Carion's Joyeux Noel
Chapter 9- Thibaut Schilt: 'An Ostrich, a Backhoe and a Few Ski-doos: Tracking the Road Movie in Quebec and Beyond'
Chapter 10- Leila Ennaili: 'Accented Mappings of France in a Globalized World: Le Havre (2011) and Samba (2014) Through the Lens of Cinema-monde'
Section III. Hubs and Spheres of Production
Chapter 11- Alison Rice: 'Activist Cinema-monde in Paris: Filming Foreigners in the French Capital'
Chapter 12- Jaime Steele: 'Cinema Made in Liege: A 'Hub' of Francophone Belgian Filmmaking'
Chapter 13- Michelle Stewart: '"Images of Diversity": Film Policy and the "State Struggle" for the Representation of Difference'
Chapter 14- Carina Yervasi: 'Youth and Media-Engage: Is This West Africa's Heterolinguistic Cinema-monde?'
Epilogues
Bill Marshall: 'Worlds Within; In the World'
Lucy Mazdon: 'Cinema-monde as a Call to Arms'
Will Higbee: 'Cinema-monde and the Transnational'
