Fragile yet powerful, macho yet transgressive, Jacques Audiard's films portray disabled, marginalised or otherwise non-normative bodies in constant states of crisis and transformation. Jacques Audiard is the first book on the cinema of one of the most important French directors working today. It studies his screenwriting background, his collaborative practices and his use of genre motifs alongside his reputation as a celebrated French auteur. Using the motif of border-crossing - both physical and symbolic - the book explores how Audiard's films construct and transcend boundaries of many forms. Focusing on the representation of the physical body, French society and broader transnational contexts, it reveals how Audiard's cinema occupies a sp...
The book features works from the silent period and poetic realism, through the stylistic development...
This thesis represents an attempt to more clearly delineate current conceptions of a recent collecti...
In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the signi...
© 2016 Informa UK Limited, trading as Taylor & Francis Group.This article discusses the films of Jac...
It is often taken for granted that French cinema is intimately connected to the nation's sense of id...
Autofiction as realised in cinematic practice adds a figure of identification to the literary author...
The materialization of autofiction in cinematic practice allows a new identification, adding to the ...
International audienceThis book looks at a much-debated phenomenon in contemporary cinema: the re-em...
International audienceThe materialization of autofiction in cinematic practice allows a new identifi...
International audienceThe materialization of autofiction in cinematic practice allows a new identifi...
The probing of identity is an established concern of French and Francophone film. Different waves of...
For me this space of radical openness is a margin—a profound edge. Locating oneself there is difficu...
This chapter looks at L’Homme qui aimait les femmes (1977) as a privileged instance of the self-effa...
“She really had something to say about the State…and the impossibility of the State falling in love”...
Jean Baudrillard loved cinema and was fascinated by the collusions which occur between it and life. ...
The book features works from the silent period and poetic realism, through the stylistic development...
This thesis represents an attempt to more clearly delineate current conceptions of a recent collecti...
In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the signi...
© 2016 Informa UK Limited, trading as Taylor & Francis Group.This article discusses the films of Jac...
It is often taken for granted that French cinema is intimately connected to the nation's sense of id...
Autofiction as realised in cinematic practice adds a figure of identification to the literary author...
The materialization of autofiction in cinematic practice allows a new identification, adding to the ...
International audienceThis book looks at a much-debated phenomenon in contemporary cinema: the re-em...
International audienceThe materialization of autofiction in cinematic practice allows a new identifi...
International audienceThe materialization of autofiction in cinematic practice allows a new identifi...
The probing of identity is an established concern of French and Francophone film. Different waves of...
For me this space of radical openness is a margin—a profound edge. Locating oneself there is difficu...
This chapter looks at L’Homme qui aimait les femmes (1977) as a privileged instance of the self-effa...
“She really had something to say about the State…and the impossibility of the State falling in love”...
Jean Baudrillard loved cinema and was fascinated by the collusions which occur between it and life. ...
The book features works from the silent period and poetic realism, through the stylistic development...
This thesis represents an attempt to more clearly delineate current conceptions of a recent collecti...
In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the signi...