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Charlie Michael - French Film in the Blockbuster Era, Inbunden

Inbunden, Engelska, 2019

French Film in the Blockbuster Era

Globalization and the Cultural Politics of a Popular Cinema

Av Charlie Michael

Del i serien Traditions in World Cinema

2095 kr

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Beskrivning
The title of this project 'French Blockbusters' may strike some as an oxymoron. At first glance, the commercial spectacles conjured by a word like "blockbusters" seem the very opposite of what French filmmaking is supposed to be about. From the Lumieres and Melies to the 1960s New Wave and well beyond, French cinema has been among the most resilient of European culture industries, weathering Anglo-American competition with a mix of philosophical resistance, political-economic interventionism, and aesthetic innovation. Yet although these currents do remain, the French film industry's response to the sea changes of the past three decades have not been purely about resistance or a David-versus-Goliath story. French Blockbusters highlights how global economic forces notably the onslaught of Hollywood mega-franchises and new media platforms (cable, video, DVD, internet) have also roiled an overtly commercialized, ideological undertow in the Hexagon and its film production strategies. Cutting across a swath of recent French-produced cinema, this is the first book-length consideration of the theoretical implications, historical impact and cultural consequences of a recent grouping of popular films that are changing what it means to make or to see a "French" film today.
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Charlie Michael earned his PhD in Film Studies from the University of Wisconsin-Madison and currently teaches cinema and media studies courses at several institutions in the Atlanta area. He co-edited the Directory of World Cinema: France (Intellect, 2013) and his work has also appeared in SubStance, The Velvet Light Trap, Quebec Studies, French Politics, Culture & Society, and A Companion to Contemporary French Cinema.

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This is an exciting, well-researched, and urgent retelling of the tropes and trajectories of contemporary French transnational, blockbuster cinema. Michael’s rich case studies, confident grasp of political and cultural theory, and engaging, fluid writing style make for a compelling account of France’s dalliance with big-budget cinema. His engagement with current sources and methodologies is excellent (each end-of-chapter bibliography is impressively extensive), while the use of box-office statistics, specific production histories, and the reception of the chosen films add much-needed contextual data. French Blockbusters is ultimately all about a series of tense, strategic compromises that the industry has made since the 1980s, and how the emergence of new types of genre films (comedies, action, martial arts, parkour) has encouraged it to “go global.”

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