By Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner
A significant other to modern French Cinema provides a finished selection of unique essays addressing all facets of French cinema from 1990 to the current day.
• Features unique contributions from best movie students in relation to all elements of latest French cinema
• Includes new learn on issues with regards to the political economic climate of up to date French cinema, advancements in cinema coverage, viewers attendance, and the kinds, development, and upkeep of theaters
• Utilizes groundbreaking examine on cinema past the fiction movie and the cinema-theater similar to documentary, beginner, and electronic filmmaking
• Contains an surprisingly huge diversity of methodological ways and views, together with these of style, gender, auteur, undefined, fiscal, celebrity, postcolonial and psychoanalytic studies
• Includes essays by way of very important French cinema students from France, the united states, and New Zealand, lots of whose paintings is the following provided in English for the 1st time
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Extra info for A Companion to Contemporary French Cinema
5 Coming as it does after four consecutive years of increase, and an exceptionally high level of attendance in cinematic theaters in 2011, this drop is not enough to make one conclude that a reversal of the long-term trend is indicated, but the eventual outcome can only be a matter of conjecture. 3 in 2012. 2 Cinema attendance in France, 1990–2012. Statistics from the CNC. 3 Indices of attendance for several industrial countries, 1980–2012. Statistics from the CNC. 9% of the entries. Increasingly, this latter group is having a major impact on fluctuations in attendance, given that, in the case of a number of films that achieve very large successes, it is their attendance that contributes greatly to the success of the film.
The idea that the transition to digital is a happy event must at least be nuanced, given that further concentration and a threat to a certain number of theaters with small and medium-sized operations has been confirmed in many countries. The myth that digital enables easier access to films, which has contributed to arguments in its favor, has also been exploded. While it is fashionable to present digital cinema as providing a promise of accessibility and greater diversity, it appears that this technological potential remains subordinate to the economic model of distribution, and to the preexisting structures of the market: the concentration of attendance around a small number of best-sellers has been confirmed, even reinforced, with films at the top of the box office being able to benefit from a still larger number of visits, while a section of the pool of theaters is confronted by an organized scarcity of supply.
In Chapter 22, T. Jefferson Kline looks specifically at several films based on historical novels, tracing the processes of transformation that have taken place from page to screen in order to demonstrate the high level of creativity involved in recent adaptations of French patrimonial fiction. Also focusing on the heritage film, Gwénaëlle Le Gras in Chapter 14 demonstrates how the French passion for history and the country’s cultural legacy has enabled stars to exploit the heritage film, because of its association of spectacle with identity, as a means of flourishing in a highly competitive industry.
A Companion to Contemporary French Cinema by Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner