By Tim Palmer
Brutal Intimacy is the 1st ebook to discover the attention-grabbing movies of latest France, starting from mainstream style spectaculars to arthouse experiments, and from wildly renowned hits to motion pictures that intentionally alienate the viewer. Twenty-first-century France is an enormous resource of foreign cinema--diverse and dynamic, embattled but prosperous--a nationwide cinema providing whatever for everybody. Tim Palmer investigates France's becoming inhabitants of ladies filmmakers, its buoyant forefront of first-time filmmakers, the increase of the debatable cinema du corps, and France's cinema icons: auteurs like Olivier Assayas, Claire Denis, Bruno Dumont, Gaspar Noe, and stars resembling Vincent Cassel and Jean Dujardin. studying dozens of step forward movies, Brutal Intimacy situates notorious titles along many but to be studied within the English language. Drawing on interviews and the testimony of major movie artists, Brutal Intimacy grants to be an influential remedy of French cinema this present day, its evolving contention with Hollywood, and its formidable ambitions of audiences in Europe, North the United States, and world wide.
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Extra info for Brutal Intimacy: Analyzing Contemporary French Cinema (Wesleyan Film)
12 In keeping with its youthful ideology, moreover, the first-timer César is constantly repackaged and reinvented by the French Film Academy. In 2000 it became the César for Best First Work of Fiction (César de la meilleure première œuvre de fiction), and then in 2006 it received its current, more streamlined title, simply the Best First Film (César du meilleur premier film). Whatever its name, the debutant César award is just part of a constellation of French cinematic events that favor, and honor, the newcomer.
The first iconic examples are in the Lumière brothers’ works, like Auguste and family arranged in tableaux for shorts like Baby’s Dinner (Repas de Bébé, 1895); Méliès’s showmanship simply made the process more grandiose. W. Griffith observing his heroine in danger at the climax of Birth of Young Cinema and First-Timers 39 a Nation (1915),51 to Chaplin’s brief appearance as a porter in A Woman of Paris (1923). With sound came more options for personal directorial touches: Sacha Guitry contributing a droll, continuous voice-over for his The Story of a Cheat (Le Roman d’un tricheur, 1936); a tactic echoed by Orson Welles with his omniscient opening monologue in The Magnificent Ambersons (1942); revived by the ever self-conscious Melville in his various roles, as extra or narrator, in Les Enfants terribles (1950) and Bob the Gambler (Bob le flambeur, 1955).
There is, most pressingly, the ubiquitous auteur complex, a methodology predicated on an established oeuvre and coherent body of texts bearing a signature style and themes. Respondents to recent French cinema, it must be said, return time and time again to familiar auteur candidates (especially Luc Besson, Jean-Pierre Jeunet, and Mathieu Kassovitz) whose impact, while obviously Young Cinema and First-Timers 19 important, becomes disproportionately inflated. In an industry predicated on newness and high cultural turnover, this lure of the familiar—critics nuancing the known rather than broaching the unknown—narrows the canon and neglects the discourses, and texts, that continually propel French cinema forwards.