By Alistair Fox, Michel Marie, Rapha?lle Moine, Hilary Radner
A significant other to modern French Cinema offers a entire number of unique essays addressing all facets of French cinema from 1990 to the current day.
• Features unique contributions from most sensible movie students with regards to all points of latest French cinema
• Includes new examine on concerns when it comes to the political economic climate of up to date French cinema, advancements in cinema coverage, viewers attendance, and the categories, construction, and preservation of theaters
• Utilizes groundbreaking study on cinema past the fiction movie and the cinema-theater equivalent to documentary, novice, and electronic filmmaking
• Contains an surprisingly huge diversity of methodological techniques and views, together with these of style, gender, auteur, undefined, monetary, megastar, postcolonial and psychoanalytic studies
• Includes essays by way of very important French cinema students from France, the united states, and New Zealand, a lot of whose paintings is the following provided in English for the 1st time
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Extra resources for A Companion to Contemporary French Cinema
Many establishments closed, local theaters in the local quarter (salles de quartier) disappeared in favor of quarters where theaters were concentrated (quartiers de salles), and a new generation of multiplexes saw the light of day. In spite of this restructuring, the number of seats continued to diminish in the 1980s, and it would take until the year 1993 before a turn-around in this trend became apparent. Since the beginning of the 1990s, French cinematic exploitation has undergone a profound modernization, attempting to respond to the challenge provided by the extension of audiovisual practices by reaffirming a strong identity, and by qualitative improvements to sound, the image, and general comfort, as well as services offered to spectators.
Since the low point of 1992, despite the multiplication of screens and the diversification of the modes of access to moving images with sound, French attendance has experienced a spectacular recovery, attaining 170 million in 1998, exceeding 200 million in 2009, to achieve 217 million entries in 2011, a level that had not been attained for 45 years. Notwithstanding a context of increasingly competition, cinematic attendance in France has risen by 87% since its low point in 1992. 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.
Jefferson Kline (Chapter 22). Introduction 9 History, the Cultural Legacy, and National Identity A preoccupation with French history, the patrimonial legacy, and great figures from the past, both political and artistic, is a major feature of French cinema. Since 1990, one can count over 100 movies, including television films, that can be classified either as war films, epic films, biographical films, topical historical films, metahistorical films, or costume dramas, covering topics as diverse as the debate at Valladolid in 1550 on whether Indians from the New World had a soul (La Controverse de Valladolid, Jean-Daniel Verhaeghe, 1992), to political biographies dealing with the Vichy regime and the formation of the Resistance (Pétain, Jean Marbœuf, 1993), to costume dramas based on adaptations such as Germinal (Claude Berri, 1993), which dramatizes Zola’s novel of the miners’ strike under the Second Empire.