{"product_id":"je-t-aime-moi-non-plus-franco-british-cinematic-relations-9781845457495","title":"Je T’Aime... Moi Non Plus: Franco-British","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tA series of limiting definitions have tended to delineate the Franco-British cinematic relationship. As this collection of essays reveals, there is much more to it than simple oppositions between British critical esteem for the films of France and French dismissal of ‘le cinéma British’, or the success of Ken Loach et al. at the French box office and the relative dearth of French movies on British screens. In fact, there has long been a rich and productive dialogue between these two cultures in which both their clear differences and their shared concerns have played a vital role. This book provides an overview of the history of these relations from the early days of sound cinema to the present day. The chapters, written by leading experts in the history of French, British and European cinema, provide insights into relations between French and British cinematic cultures at the level of production, exhibition and distribution, reception, representation and personnel. The book features a diverse range of studies, including: the exhibition of French cinema in Britain in the 1930s, contemporary ‘extreme’ French cinema, stars such as Annabella, David Niven and Jane Birkin and the French Resistance on British screens.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \t“\u003cem\u003eThese diverse, thoughtfully arranged essays show how geographical proximity and overlapping histories have shaped the two countries’ film cultures by opening up new layers of meaning. This collection makes a vital contribution to the film literature of both countries by demonstrating how fruitful relational studies of cinema can be. \u003c\/em\u003eSi, je t’aime.”\u003cb\u003e  ·  \u003c\/b\u003e\u003cstrong\u003eJournal of British Cinema and Television\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003ci\u003e“This is a rich and academically relevant collection … that offers an engagement with a full spectrum of disciplinary interests … The running filmography that is established across the volume will be a great resource to film scholars and students, and the range of methodological approaches deployed is genuinely inspiring in terms of its diversity, application and results.”\u003c\/i\u003e\u003cb\u003e  ·  Sue Harris\u003c\/b\u003e, Queen Mary University of London\u003c\/p\u003e \u003cp\u003e \t\u003ci\u003e“[T]here is much here to inform the specialist and please the aficionado. This is a welcome addition to the fields of reception studies, French and British film history and culture, and transnational film studies.”\u003c\/i\u003e\u003cb\u003e  ·  Professor Elizabeth Ezra\u003c\/b\u003e, University of Stirling\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e \tList of Illustrations\u003cbr\u003e \tList of Tables\u003cbr\u003e \tAcknowledgements\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eIntroduction \u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 1.\u003c\/strong\u003e Franco-British Cinematic Relations: An Overview\u003cbr\u003e \t\u003cem\u003eLucy Mazdon\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart I: Industry and Institutions \u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 2.\u003c\/strong\u003e The Exhibition, Distribution and Reception of French Films in Britain in the 1930s\u003cbr\u003e \t\u003cem\u003eVincent Porter \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 3.\u003c\/strong\u003e The ‘Cinematization’ of Sound Cinema in Britain and the Dubbing into French of Hitchcock’s Waltzes from Vienna (1934)\u003cbr\u003e \t\u003cem\u003eCharles O’Brien \u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 4.\u003c\/strong\u003e Une Entente Cordiale? A Brief History of the Anglo-French Film Coproduction Agreement, 1965–1979\u003cbr\u003e \t\u003cem\u003eJustin Smith\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 5.\u003c\/strong\u003e Channel-crossing Festivals: The Cases of the French Film Festival U.K. and Dinard’s Festival du Film Britannique\u003cbr\u003e \t\u003cem\u003eCécile Renaud\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 6.\u003c\/strong\u003e The Language of Love? How the French Sold Lady Chatterley’s Lover (Back) to British Audiences\u003cbr\u003e \t\u003cem\u003eCatherine Wheatley\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart II: Reception and Perceptions\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 7.\u003c\/strong\u003e Disciplining the Nouvelle Vague: Censoring A Bout de Souffle and Other Early French New Wave Films (1956–1962)\u003cbr\u003e \t\u003cem\u003eDaniel Biltereyst\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 8.\u003c\/strong\u003e The Reception of the Nouvelle Vague in Britain\u003cbr\u003e \t\u003cem\u003eGeoffrey Nowell-Smith\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 9.\u003c\/strong\u003e ‘New Waves, New Publics?’: The Nouvelle Vague, French Stars and British Cinema\u003cbr\u003e \t\u003cem\u003eSarah Street\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 10.\u003c\/strong\u003e Mirror Image: French Reflections of British Cinema\u003cbr\u003e \t\u003cem\u003eIan Christie\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 11.\u003c\/strong\u003e ‘Incredibly French’?: Nation as an Interpretative Context for Extreme Cinema\u003cbr\u003e \t\u003cem\u003eMelanie Selfe\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 12.\u003c\/strong\u003e British Audiences and 1990s French New Realism: La Vie Rêvée des Anges as Cinematic Slum Realism\u003cbr\u003e \t\u003cem\u003eIngrid Stigsdotter\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003ePart III: Personnel and Performance\u003c\/strong\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 13.\u003c\/strong\u003e ‘The Meaning of That French Word Chic’: Annabella’s Franco-British Stardom\u003cbr\u003e \t\u003cem\u003eJonathan Driskell\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 14.\u003c\/strong\u003e ‘Those Frenchies Seek Him Everywhere’: David Niven in Franco-British Cinematic Relations\u003cbr\u003e \t\u003cem\u003eCristina Johnston\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 15.\u003c\/strong\u003e Truffaut in London\u003cbr\u003e \t\u003cem\u003eRobert Murphy\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 16.\u003c\/strong\u003e Jane Birkin: From English Rose to French Icon\u003cbr\u003e \t\u003cem\u003eLeila Wimmer\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 17.\u003c\/strong\u003e The French Resistance Through British Eyes – From ’Allo ’Allo! to Charlotte Gray\u003cbr\u003e \t\u003cem\u003eGinette Vincendeau\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \t\u003cstrong\u003eChapter 18.\u003c\/strong\u003e ‘In the Ghetto’: Space, Race and Marginalization in French and British ‘Urban’ Films La Haine and Bullet Boy\u003cbr\u003e \t\u003cem\u003eJim Morrissey\u003c\/em\u003e\u003c\/p\u003e \u003cp\u003e \tNotes on Contributors\u003cbr\u003e \tReferences\u003cbr\u003e \tIndex\u003c\/p\u003e","brand":"Berghahn Books","offers":[{"title":"Default Title","offer_id":51042986230103,"sku":"9781845457495","price":89.1,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781845457495.jpg?v=1750956532","url":"https:\/\/bookcurl.com\/products\/je-t-aime-moi-non-plus-franco-british-cinematic-relations-9781845457495","provider":"Book Curl","version":"1.0","type":"link"}