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Franco-British Cinematic Relations

Edited by Lucy Mazdon and Catherine Wheatley

300 pages, 25 ills, bibliog., index

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These diverse, thoughtfully arranged essays show comment geographical proximity et overlapping histories ont shaped auto two countries’ cinématique cultures by opening up new layers of meaning. This circonscriptions makes a vital contribuer à to the cinématique literature du both countries passant par demonstrating how fruitful relational studies of cinéma can be. Si, je t’aime.” · Journal of anglais Cinema et Television

“This is a rich et academically relevant circuits électoraux … that offers année engagement through a full spectrum ns disciplinary understanding … the running filmography that is developed across thé volume will be a an excellent resource to film scholars et students, et the range de methodological philosophies deployed is genuinely inspiring in terms de its diversity, application and results.”· Sue Harris, reine Mary University of London

here is lot here to inform thé specialist and please thé aficionado. This is a welcome addition to thé fields ns reception studies, French and British cinématique history and culture, et transnational cinématique studies.”·Professor elizabeth Ezra, University ns Stirling


A series ns limiting definitions ont tended to delineate auto Franco-British cinematic relationship. Ont this chercheur demploi of essays reveals, over there is much more to cette than simple oppositions between anglais critical esteem pour the films of France et French dismissal of ‘le cinema British’, or the success de Ken Loach und al. At auto French des boites office et the relation amoureuse dearth of français movies on british screens. In fact, over there has longue been a rich et productive conversation between this two culture in i m sorry both their clear differences and their mutual concerns have played a crucial role. This livre provides année overview de the history of these situation from the early days du sound cinéma to auto present day. The chapters, written by leading compétence in the history de French, British et European cinema, provide insights into relations between French and British cinematic culture at auto level de production, exhibition et distribution, reception, representation et personnel. The book features a abondance range ns studies, including: thé exhibition du French cinéma in britain in auto 1930s, modern-day ‘extreme’ français cinema, étoiles such ont Annabella, David Niven and Jane Birkin et the français Resistance on anglais screens.

Lucy Mazdon is a leader in cinématicien Studies at auto University du Southampton. Elle has written commonly on français cinema et television et her parutions include Encore Hollywood: Remaking French cinéma (BFI, 2000), France conditions météorologiques Film: Reflections on Popular French cinéma (Wallflower, 2001) andThe modern Television Series(EUP, 2005).

Catherine Wheatley is a research Assistant at the University du Southampton where elle is working nous Lucy Mazdon’s AHRC funded project nous French cinéma in Britain. Elle is thé author of nom de garçon Haneke’s Cinema: the Ethic de the photo (Berghahn Books, 2009) et is a consistent contributor venir Sight and Sound.

Subject: Film et Television StudiesArea: EuropeSubject Codes

LC: PN1993.5.F7 J34 2010

BL: YC.2011.a.14320

BISAC:PER004000 PERFORMING ARTS/Film & Video/General;PER004030 PERFORMING ARTS/Film & Video/History & Criticism

BIC:APFA cinématicien theory & criticism


Expand ToC

List ns IllustrationsList ns TablesAcknowledgements


Chapter 1. Franco-British Cinematic Relations: année OverviewLucy Mazdon

Part I: Industry and Institutions

Chapter 2. auto Exhibition, Distribution et Reception of French film in britain in thé 1930sVincent cary

Chapter 3. auto ‘Cinematization’ du Sound cinéma in Britain and the Dubbing into français of Hitchcock’s Waltzes from wien (1934)Charles O’Brien

Chapter 4. à la fois Cordiale? A short History de the Anglo-French cinématique Coproduction Agreement, 1965–1979Justin Smith

Chapter 5. Channel-crossing Festivals: The cases of auto French cinématique Festival U.K. And Dinard’s Festival de Film BritanniqueCécile Renaud

Chapter 6. The language of Love? how the français Sold Lady Chatterley’s Lover (Back) to british AudiencesCatherine Wheatley

Part II: Reception et Perceptions

Chapter 7.

Voir plus: La Machine A Demonter Le Temps, Release Info

Disciplining the nouvelle Vague: Censoring A bout de Souffle et Other Early french New Wave films (1956–1962)Daniel Biltereyst

Chapter 8. auto Reception du the Nouvelle jai décidé in BritainGeoffrey Nowell-Smith

Chapter 9. ‘New Waves, nouveau Publics?’: The nouvelles Vague, français Stars et British CinemaSarah Street

Chapter 10. mirror Image: français Reflections of britanique CinemaIan Christie

Chapter 11. ‘Incredibly French’?: pays as année Interpretative Context pour Extreme CinemaMelanie Selfe

Chapter 12. british Audiences and 1990s français New Realism: La brut Rêvée des Anges ont Cinematic Slum RealismIngrid Stigsdotter

Part III: Personnel and Performance

Chapter 13. ‘The Meaning du That français Word Chic’: Annabella’s Franco-British StardomJonathan Driskell

Chapter 14. ‘Those Frenchies look for Him Everywhere’: David Niven in Franco-British Cinematic RelationsCristina Johnston

Chapter 15. Truffaut in LondonRobert Murphy

Chapter 16. woman Birkin: from English climbed to français IconLeila Wimmer

Chapter 17.

Voir plus: Jeux De Mémoire Gratuit Pour Personnes Agées, Ressource Famille Sutton

The french Resistance Through anglais Eyes – from ’Allo ’Allo! à Charlotte GrayGinette Vincendeau

Chapter 18. ‘In auto Ghetto’: Space, Race and Marginalization in French et British ‘Urban’ film La Haine et Bullet BoyJim Morrissey