(2011) 'Cinematic authorship and the film auteur', in Nelmes, J.

Institutional and non-professional contexts of Melville's work in film as an independent producer-director; Difficulties that Melville has presented to scholars and critics in terms of his idiosyncratic historical placement with accounts of French cinema; Analysis of the aesthetic qualities of Melville's films and their relation to certain of his film-making contemporaries.

Course Title: Authorship and Narrative in the Cinema

Paris : Association francaise de recherche sur l'histoire du cinema, [2005]

Paris: Cinematheque francaise: Hazan, 1998.

This article will maintain that French popular cinema of the 1950s should not be seen just as a foil to the New Wave, but as an important cinema in its own right, not least because of its complex relationship with Hollywood in the assertion of a French identity.

Series title: Cinema one series 5.

Images and subjects that were once the provenance of splatter films, exploitation flicks, and porn proliferate in the high-art environs of a national cinema whose provocations have historically been political, formal, or philosophical, or, at their most immoderate, assimilable as emanations of an artistic movement (Surrealism, mostly).

Series title: National cinemas.

Paris, Cinematheque francaise, 1966.

It’s important to realize what The Classical Hollywood Cinema isnot and never tried to be. Perhaps the most common strain of criticism was thatit didn’t take into account other things.

"European Cinema: Transnational, Transcultural, Transmedial".

Why did we not do a full-blown comparative study, situating Hollywood inrelation to other national cinema traditions? There is a seriousmethodological point here. How, after all, can you be sure that the featuresof technique or narrative that you’re picking out distinguish Hollywood?Perhaps we find the same features in French or Brazilian films. The reply isthat we did rely on our intuitive experience with other traditions to come upwith some broad contrasts with other modes of filmmaking (e.g., Soviet montagecinema, contemporary art cinema). Moreover, especially in the pre-video era,a systematic and fairly comprehensive cross-national study of this sort wasn’tpractical. Kristin and I have gone on to try to trace alternative styles, butfilm studies is still very far from a complete comparative study of aesthetictraditions in international popular cinema. That is largely because most scholarsdo not pursue analysis of form and style.

character identification | Art/Cinema/Life

In a long and varied career, Lindsay Anderson made training films, documentaries, searing family dramas and blistering satires, including This Sporting Life, O Lucky Man! and Britannia Hospital. This book is about a director whose work came to public attention with Free Cinema but who, unlike many of his peers in that movement did not take the Hollywood route to success. What emerges is a strong feeling for the character of the man as well as for a remarkable career in British cinema. Making use of hitherto unseen original materials from Anderson's extensive personal and professional records, ...

The fathers and daughters of French cinema."  Vol I nr 11 (Mar 1992); p 14-17

Series title: National cinema series.

Perhaps the most valuable thing I’ve learned isthat analyzing craft is endlessly interesting. By studying Hollywood with mytwo collaborators I was constantly reminded that art-making is a human activity,guided by will and skill, working on materials inherited from others. And thisactivity takes place within a community of artisans, who are sharing informationbut also competing to do something fresh. The line between craft and artistryin its more exalted sense is a hazy one, and I don’t claim to be able todefine it. But I’veworried little about drawing that line. Instead, I’ve surrendered to thepleasure of finding things out about how filmmakers do what they do. I want toknow their secrets, even the ones they don’t know they know.

Yet China, too, has been fascinated with Western ideas, with Freud one particular example.

Cinema and landscape / Graeme Harper & Jonathan Rayner (eds.).

Tracing the particular history of this trope, it was found that media constructions of bisexual men as vectors of HIV transmission in the mid-1980s played a decisive role in creating the image of the bisexual man as sexualized killer.

Film historian David Bordwell discusses Bresson's place in the history of cinematic style.

Paris: CNRS editions: Cinematheque francaise, c2002.

Join us for our weekly film series! This quarters theme is "Saphic Cinemania: Female Authorship and Queer Desires"
FDM PhD student kerrie welsh will introduce the films each week.