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French Cinema and Society from 1990 to the Present | University of Warwick 10/02/21 FR417: States of the Nation: French Cinema and Society from 1990 to the present | University of Warwick FR417: States of the Nation: French View Online Cinema and Society from 1990 to the present (2015/16) Anon. 17AD. Gender Meets Genre in Postwar Cinemas eBook: Christine Gledhill: Amazon.co.uk: Kindle Store. University of Illinois Press; 1st Edition edition. Anon. 2010. The End of the French Exception?: Decline and Revival of the ‘French Model’. Vol. French politics, society, and culture series. New York: Palgrave Macmillan. Anon. n.d. 36 [DVD] [2006]. Anon. n.d. Bande de Filles (FSK 12 Jahre) DVD. Anon. n.d. Bienvenue Chez Les Ch’tis. Anon. n.d. ‘Bon Voyage [DVD] (2003).’ Anon. n.d. ‘Carrie Tarr with Brigitte Rollet, “Introduction” and “Conclusion,” in Cinema and the Second Sex, Women’s Filmmaking in France in the 1980s and 1990s, London and New York: Continuum, 2001.’ Anon. n.d. Chouchou [FRENCH]. Anon. n.d. ‘Christian Bosséno, “The Case of Beur Cinema,” in R. Dyer and G. Vincendeau (eds), Popular European Cinema (1992).’ Anon. n.d. Comme Une Image (DVD) ~ Agnès Jaoui. Anon. n.d. De Battre, Mon Coeur S’est Arrêté [Import Belge]. Anon. n.d. ‘Dina Sherzer, “Gender and Sexuality in New New Wave Cinema,” in A. Hughes & J. S. Williams (eds), Gender and French Cinema, Oxford and New York: Berg, 2001’. Anon. n.d. ‘Elizabeth Ezra & Terry Rowden, “What Is Transnational Cinema?” in Ezra and Rowden, Transnational Cinema: The Film Reader (New York: Routledge, 2006), Pp. 1-10.’ Anon. n.d. ‘Ginette Vincendeau, “Fifty Years of the French New Wave: From Hysteria to Nostalgia,” in P. Graham & G. Vincendeau (eds) The French New Wave: Critical Landmarks, London: BFI (2009), Pp. 1-31.’ Anon. n.d. ‘Ginette Vincendeau, “Noir Is Also a French Word,” in I. Cameron (ed.) 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Anon. n.d. ‘Julia Hallam and Margaret Marshment, "Space, Place and Identity: Reviewing Social Realism”, in Realism and Popular Cinema, Manchester: Manchester UP, 2000, Pp. 184-196.’ Anon. n.d. ‘Kate Ince “Queering the Family: Fantasy and the Performance of Sexuality and Gay Relations in French Cinema 1995-2000,” Studies in French Cinema 2: 2 (2002).’ Retrieved (http://eprints.bham.ac.uk/701/1/Ince_Queering_the_family.pdf#?). Anon. n.d. La Graine et Le Mulet (DVD) ~ Abdellatif Kechiche. Anon. n.d. La Rafle. Anon. n.d. ‘Laurent Creton & Anne Jäckel. “A Certain Idea of the Film Industry,” in M. Temple & M. Witt (eds), The French Cinema Book (2004), Pp. 202-220.’ Anon. n.d. La Vie En Rose (2 Disc Special Edition) [DVD] [2007]. Anon. n.d. ‘La Ville Est Tranquille [DVD] [2001].’ Anon. n.d. ‘Les Femmes de l’Ombre Coll-DVD.’ Anon. n.d. ‘LES GLANEURS ET LA GLANEUSE [ DVD ] (2000) En VF - Un Film d’Agnès Varda Avec Agnès Varda, François Wertheimer...’ Anon. n.d. ‘LOL.’ Retrieved (http://www.amazon.co.uk/LOL-Douglas-Booth/dp/B00FYNX3QQ/ref=sr_1_1?ie=UTF8& qid=1456845042&sr=8-1&keywords=LOL+azuelos). Anon. n.d. ‘Martine Danan, “From a ”Prenational” to a “Postnational” French Cinema,” in C. Fowler (ed.), The European Cinema Reader, London and New York: Routledge, 2002.’ Anon. n.d. ‘Martin O’Shaughnessy, “Post-1995 French Cinema: Return of the Social, Return of the Political?” Modern & Contemporary France, 11:2 (2003)’. Anon. n.d. ‘Mette Hjort, “Themes of Nation,” in Hjort & S. Mackenzie (eds), Cinema and Nation (2000), Pp. 103-117’. Anon. n.d. ‘Naomi Greene, “Battles for Memory: Vichy Revisited,” in Landscapes of Loss, The National Past in Postwar French Cinema (1998), Pp. 64-97.’ Anon. n.d. ‘Phil Powrie, “French Neo-Noir to Hyper-Noir,” in A. Spicer (ed.), European Film 2/10 10/02/21 FR417: States of the Nation: French Cinema and Society from 1990 to the present | University of Warwick Noir (Manchester: Manchester University Press, 2007), Pp. 55-83’. Anon. n.d. ‘Phil Powrie, “Heritage, History and ”New Realism”," in French Cinema in the 1990s: Continuity and Difference (Oxford: Oxford University Press, 1999), Pp. 1-21.’ Anon. n.d. ‘Raphaëlle Moine, “Reconfigurations Génériques de La Comédie Dans Le Cinéma Français Contemporain,” in Le Cinéma Français Face Aux Genres, Paris: Association Française de Recherche Sur Le Cinéma, 2005, Pp. 214-223.’ Anon. n.d. Regarde-Moi. Anon. n.d. ‘Rick Clifton Moore, “Ambivalence to Technology in Jeunet”s Le Fabuleux Destin d’Amélie Poulain,’ Bulletin of Science, Technology & Society, 26:1 (Feb. 2006).’ Anon. n.d. ‘Sarah Cooper, “Auto-Allo-Portraits in Les Glaneurs et La Glaneuse,” in Selfless Cinema? Ethics and French Documentary, Cambridge: Legenda, 2006, Pp. 84-90.’ Anon. n.d. ‘Sue Harris, “Dispossession and Exclusion in Zonca”s La Vie Rêvée Des Anges (Zonca ’98),’ in L. Russell-Watts and J. Horne (eds), Possessions (Peter Lang, 2004).’ Anon. n.d. ‘Taken.’ Retrieved (http://www.amazon.co.uk/Taken-Liam-Neeson/dp/B00FZL8UK6/ref=sr_1_1?ie=UTF8& qid=1456846291&sr=8-1&keywords=Taken). Anon. n.d. Toi, Moi Et Les Autres. Anon. n.d. ‘Will Higbee, “Of Spaces and Difference in La Graine et Le Mulet (2007): A Dialogue with Carrie Tarr.” In Studies in French Cinema. UK Perspectives 1985-2010. Bristol and Chicago: Intellect, 2011, Pp. 215-230.’ Asibong, Andrew. 2008. Franĉois Ozon. Vol. French film directors. Manchester: Manchester University Press. Austin, Guy. 2003. Stars in Modern French Film. London: Arnold. Austin, Guy. 2008. Contemporary French Cinema: An Introduction. 2nd ed. Manchester: Manchester University Press. Balasko, Josiane, Claude Berri, Victoria Abril, Alain Chabat, Ticky Holgado, AMLF (Firm), Renn Productions, Films Flam (Firm), TF1 Films Production, Studio Canal+, and Channel Four (Great Britain). 1999. ‘Gazon Maudit =: French Twist.’ Bazgan, Nicoleta. 2010. ‘Female Bodies in Paris: Iconic Urban Femininity and Parisian Journeys.’ Studies in French Cinema 10(2):95–109. doi: 10.1386/sfc.10.2.95_1. Berri, Claude, Daniel Auteuil, Carole Bouquet, Patrice Chereau, Lucie Aubrac, Renn Productions, and October Films. 2001. ‘Lucie Aubrac.’ Bordwell, David, and Kristin Thompson. 2013. Film Art: An Introduction. Tenth edition. New York: McGraw-Hill. 3/10 10/02/21 FR417: States of the Nation: French Cinema and Society from 1990 to the present | University of Warwick Brassart, Alain. n.d. L’homosexualité Dans Le Cinéma Français. Vol. Collection Cinéma. Paris: Nouveau monde. Bréhat, Jean, Rachid Bouchareb, Olivier Lorelle, Jamel Debbouze, Samy Naceri, Roschdy Zem, Sami Bouajila, Bernard Blancan, Mathieu Simonet, Benoît Giros, Mélanie Laurent, Antoine Chappey, Assaad Bouab, Aurélie Eltvedt, Armand Amar, Khaled, Tessalit productions, Kiss Films, Studio Canal+, Petite Reine (Firm), and Weinstein Company. 2006. ‘Days of Glory: Indigènes.’ Brown, Tom, and Belén Vidal, eds. 2014. The Biopic in Contemporary Film Culture. New York: Routledge. Chedaleux, Delphine. 2014. ‘Déclinaisons de La Masculinité Dans Les Comédies Françaises : Le Cas Jean Dujardin.’ Mise Au Point (6). doi: 10.4000/map.1741. Conway, Kelley. 2010. ‘Varda at Work’: Studies in French Cinema 10(2):125–39. doi: 10.1386/sfc.10.2.125_1. Corrigan, Timothy, and Patricia White. 2015. The Film Experience: An Introduction. Fourth edition. Boston: Bedford/St. Martins. Delbosc, Olivier, Marc Missonnier, Marina de Van, François Ozon, Robert Thomas, Danielle Darrieux, Catherine Deneuve, Isabelle Huppert, Emmanuelle Béart, Fanny Ardant, Virginie Ledoyen, Ludivine Sagnier, Firmine Richard, Jeanne Lapoirie, Laurence Bawedin, Krishna Levy, Pascaline Chavanne, Arnaud de Moléron, Focus Features, Fidélité Productions, France 2 cinéma (Firm), Studio Canal+, Mars films (Firm), and Centre national de la cinématographie (France). n.d. ‘8 Femmes: 8 Women.’ Dubois, Régis. 2012. Les Noirs Dans Le Cinéma Français: Images et Imaginaires D’hier et D'aujourd'hui. Vol. Collection ‘le sens des images’. [France]: Régis Dubois. Dufour, Éric. 2014. Qu’est-Ce Que Le Mal, Monsieur Haneke? Vol. Philosophie et Cinéma. Paris: Vrin. Durmelat, Sylvie, and Vinay Swamy. 2011. Screening Integration: Recasting Maghrebi Immigration in Contemporary France. Lincoln: University of Nebraska Press. Elgie, Robert. 1996. Electing the French President: The 1995 Presidential Election. Basingstoke: Macmillan. Esposito, Claudia. 2011. ‘Ronsard in the Metro: Abdellatif Kechiche and the Poetics of Space.’ Studies in French Cinema 11(3):223–34. doi: 10.1386/sfc.11.3.223_1. Everett, Wendy E. 1996. European Identity in Cinema. Vol. Intellect European studies series. Exeter: Intellect. Everett, Wendy E., and Axel Goodbody. 2005. Revisiting Space: Space and Place in European Cinema. Vol. New studies in European cinema. Oxford: P. Lang. Ezra, E., and J. Sillars. 2007. ‘Introduction.’ Screen 48(2):211–13. doi: 10.1093/screen/hjm016. 4/10 10/02/21 FR417: States of the Nation: French Cinema and Society from 1990 to the present | University of Warwick Flitterman-Lewis, Sandy. n.d. ‘Sarah’s Key/La Rafle.’ Cineaste 36(4):51–54. Forth, Christopher E., and Bertrand Taithe. 2007. French Masculinities: History, Culture, and Politics. Basingstoke [England]: Palgrave Macmillan. Fox, Alistair. 2014. A Companion to Contemporary French Cinema. Vol. Wiley-Blackwell companions to national cinemas. edited by R. Moine, H. Radner, and M. Marie. Chichester, West Sussex [England]: John Wiley & Sons. Frédéric Bonnaud. 2001. ‘Wannabe Auteur Makes Good.’ Film Comment 37(4):52–55. Frey, Hugo. 2014. Nationalism and the Cinema in France: Political Mythologies and Film Events, 1945-1995.
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