Ginette Vincendeau – författare

Ginette Vincendeau discusses the artistic value of his films in their proper context and comments on Jean-Pierre Melville's love of American culture and his controversial critical and political standing in this English language study.

Popular European Cinema examines the reasons why films that are most popular with audiences in any one European countha are seldom successful eslewhere. Audiences themselves represent diverse class, gender and ethnic identities that complicate th equestoin of national cinema, not least with recent developments in formerly communist Eastern Europe and post-colonialist Western Europe. THrough their individual studies, the contribuitots ehr oven up a new area of study, using the medium of film to fucus a wider discussion of popular European culture.

Popular European Cinema examines the reasons why films that are most popular with audiences in any one European countha are seldom successful eslewhere. Audiences themselves represent diverse class, gender and ethnic identities that complicate th equestoin of national cinema, not least with recent developments in formerly communist Eastern Europe and post-colonialist Western Europe. THrough their individual studies, the contribuitots ehr oven up a new area of study, using the medium of film to fucus a wider discussion of popular European culture.

The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s. Films discussed include:* masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis* popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud* landmarks of the New Wave such as Les 400 Coups and A bout de souffle* important films of the 1990s such as Nikita and La HaineThe films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.

The second edition of this innovative textbook brings together leading scholars to provide detailed analyses of twenty-two key films within the canon of French cinema, from the 1920s to the 1990s. Films discussed include:* masterpieces such as Renoir's La Bete Humaine and Carne's Les Enfants du Paradis* popular classics such as Les Vacances de Monsieur Hulot and Ma Nuit chez Maud* landmarks of the New Wave such as Les 400 Coups and A bout de souffle* important films of the 1990s such as Nikita and La HaineThe films are considered in relation to such issues as the history of French cinema, the social and cultural contexts of their production and reception, the relationship with Hollywood cinema, gender politics, authorship and genre. Each article is accompanied with a guide to further reading and a filmography of the director, and the new edition also includes a fully revised introduction and a bibliography on French cinema.

French cinema has produced a substantial galaxy of stars to achieve world fame in their national films. This is an analysis of the phenomenon of French stardom. It provides in-depth studies of the major popular stars of French cinema: Max Linder, Jean Gabin, Brigitte Bardot, Louis de Funes, Jeanne Moreau, Catherine Deneuve, Alain Delon, Jean-Paul Belmondo, Gerard Depardieu, and Juliette Binoche. It explores the stars' images and performance styles in the context of the French film industry, and in relation to French culture and society. It also examines the unusually close relationship between French film stars and national identity, in a country where Brigitte Bardot and Catherine Deneuve have modelled for Marianne (the effigy of the Republic) and where Jean Gabin has been seen as a role model by left-wing politicians.

Agnès Varda, the Belgian-born French filmmaker, is universally recognised as the “the godmother of the French New Wave”, influencing directors from Jean-Luc Godard to Alain Resnais with her early films, such as La Pointe Courte (1954). A pioneering female auteur, she is also renowned for the way she trained her female and feminist gaze on women as social subjects - including older women, and notably herself. Starting out as a photographer, she worked ceaselessly from the early 1950s until her death at the age of 90 in 2019. Her career-long strand of documentaries, including Black Panthers (1968) and The Gleaners and I (2000), placed her at the centre of the renewed interest in the genre in the 21st century, while the last two decades saw her entering her “third phase”, as an innovative gallery artist. Her extraordinary determination and creativity have inspired filmmakers throughout the world and continued to attract new generations of viewers.The Bloomsbury Handbook to Agnès Varda represents the richness and diversity of Varda’s life and art including landmark films such as Cleo from 5 to 7 (1962), One Sings, The Other Doesn’t (1977), and Vagabond, as well as lesser-known works such as Daguerreotypes (1975). The chapters in this book are written by leading experts on Varda, women’s cinema, and French film and television, alongside emerging scholars and independent writers. Together, they explore Varda's multidisciplinary practice and its social, historical, and cultural contexts, reflecting contemporary perspectives, including queer-inflected and intersectional feminist explorations of her œuvre.

A Companion to Jean Renoir “An extraordinary collection of essays that more than fulfills the aims of its editors, Alastair Phillips and Ginette Vincendeau. The essays offer exciting, original work from younger scholars as well as long-established authorities, all of which offer invaluable insights into the films, writings, and life of Jean Renoir. Receiving particular attention are questions about the singularity or multiplicity of what the editors call the many ‘Renoirs’ (French, American, Indian; even transnational), especially from the early 1930s through the early 1960s. Whether mining relatively unexplored archive materials, deploying newly current methodological approaches, interrogating one of a wide range of topics and issues, or engaging in close textual analysis, the contributors construct a tantalizing series of innovative ‘road maps’ for future researchers to pursue.”Richard Abel, University of Michigan “Alastair Phillips and Ginette Vincendeau have brought together essays that bring new perspectives to both the best-known and the lesser-known of Renoir’s films. Both French cinema specialists and viewers new to Renoir’s work will find much of interest in this outstanding collection.”Judith Mayne, Ohio State University Dubbed simply “the best director”’ by François Truffaut, Jean Renoir is a towering figure in world film history. This exhaustive survey of his work and life features a comprehensive analysis of his films from the multiple critical perspectives of the world’s leading Renoir scholars. Renoir’s career spanned four decades and four countries and included an extraordinary body of films, some of which – La Grande illusion (1937) and La Règle du jeu (1939) – are universally recognized masterpieces. Fathered by the celebrated painter Pierre-Auguste Renoir, the filmmaker lived through much of the twentieth century, beginning his career in the silent era and ending it in full Technicolor. His films are notable for their paradoxical combination of strong internal coherence and thematic breadth and diversity, and they provide a rich source for today’s scholars of film history and French culture. This handbook, the largest volume on Renoir ever produced in the English language, ranges in scope from extreme close-up analysis of individual films to long-shot explorations of his aesthetics and the social and cultural contexts in which he worked. The most ambitious critical study of Renoir to date, this book will appeal to film enthusiasts as much as scholars and specialists.

The French New Wave is an essential anthology of writings by and about the critics and filmmakers of this revolutionary cinematic movement, which has had a radical impact on film practice and the way we think and write about film. The volume includes foundational writings such as Francois Truffaut's A Certain Tendency in French Cinema and Andre Bazin's La Politique des auteurs, as well writings by Jean-Luc Godard, Claude Chabrol and Alexandre Astruc.This new edition now represents writings by and about women critics and film-makers, including important articles by the critics Evelyne Sullerot, Michele Firk and Françoise Aude, addressing issues of gender and representation, as well as considering New Wave films in the context of contemporary political events, notably France's colonialist war on the Algerian independence movement. To accompany the case study of Godard's À bout de souffle, the new edition includes a case study of the critical reception of two films by Agnès Varda: La Pointe Courte and Cléo de 5 à 7 .The articles have been specially translated for the volume by Peter Graham, and some are published for the first time in English. These classic writings are accompanied by contextualising introductions by Ginette Vincendeau, updated for this new edition, to form a unique resource on this key cinematic movement and its practitioners.

The French New Wave is an essential anthology of writings by and about the critics and filmmakers of this revolutionary cinematic movement, which has had a radical impact on film practice and the way we think and write about film. The volume includes foundational writings such as Francois Truffaut's A Certain Tendency in French Cinema and Andre Bazin's La Politique des auteurs, as well writings by Jean-Luc Godard, Claude Chabrol and Alexandre Astruc.This new edition now represents writings by and about women critics and film-makers, including important articles by the critics Evelyne Sullerot, Michele Firk and Françoise Aude, addressing issues of gender and representation, as well as considering New Wave films in the context of contemporary political events, notably France's colonialist war on the Algerian independence movement. To accompany the case study of Godard's À bout de souffle, the new edition includes a case study of the critical reception of two films by Agnès Varda: La Pointe Courte and Cléo de 5 à 7 .The articles have been specially translated for the volume by Peter Graham, and some are published for the first time in English. These classic writings are accompanied by contextualising introductions by Ginette Vincendeau, updated for this new edition, to form a unique resource on this key cinematic movement and its practitioners.

A comprehensive guide to European actors in American film, this book brings together 15 chapters with A-Z entries on over 900 individuals. It includes case studies of prominent individuals and phenomena associated with the emigres, such as the stereotyping of European actresses in 'bad women' roles, and the irony of Jewish actors playing Nazis.

'Paris in the Cinema' offers a new approach to the representation of Paris on screen. Bringing together a wide range of renowned French and Anglophone specialists in film, television, history, architecture and literature, the volume introduces, challenges and extends ideas about the city as the locus of screen modernity. Through a range of concrete and historically-specific case studies, ranging from particular districts such as Saint-Germain-des-Pres and les banlieues (the suburbs) in French cinema, to iconic figures such as the detective Maigret and the lovers, and from locations such as the hotel, the building site and the Eiffel Tower to filmmakers such as Agnes Varda and Jean-Pierre Jeunet, this unique text demonstrates how the cinematic city of Paris now constitutes a major archive of French cultural history and memory.

This essay collection offers a new approach to the representation of Paris on screen. Bringing together a wide range of renowned French and Anglophone specialists in film, television, history, architecture and literature, Alastair Phillips and Ginette Vincendeau introduce, challenge and extend ideas about the city as the locus of screen modernity. Through a range of concrete and historically-specific case studies, this unique text demonstrates how the cinematic city of Paris now constitutes a major archive of French cultural history and memory. This is an ideal resource for undergraduate and postgraduate students of Film, Media and Cultural Studies, French Studies, European or Transnational Studies, Visual Studies, and Urban Studies. Fresh and engaging, this fascinating text will also appeal to lovers of French cinema and the capital city that comprises its major home.

Released in 1995, "La Haine" is the black and white chronicle of 24 hours in the life of a mixed-race young male trio from a run-down Parisian suburb. The author provides an understanding of the context of the film's making, of the film's narrative tension, stylistic sophistication and ideological ambiguity, and of its success.

Released in 1995, "La Haine" is the black and white chronicle of 24 hours in the life of a mixed-race young male trio from a run-down Parisian suburb. The work of a then unknown young team (director and actors were all under 30), it became hugely and unexpectedly successful, launching director Mathieu Kassovitz and lead player Vincent Cassel to stardom.The film's combination of hard-hitting social expose, stylish black and white cinematography and hip-hop culture also turned it into an enduring cult movie with younger viewers. With great style and insight, Ginette Vincendeau provides a thorough understanding of the context of the film's making, its narrative tension, stylistic sophistication and ideological ambiguity and of its extraordinary success nationally and internationally. She thus explains why, out of so many films about disaffected youth, "La Haine" is the one that caught the imagination, becoming an instant classic.