The editors' decision to adapt their text to France's present cultural context motivated the replacement of nine essays from the previous edition with original analyses of Le Crime de Monsieur Lange, L'Air de Paris, Le Samouraï, Lacombe Lucien, Les Valseuses, Coup de foudre, Cyrano de Bergerac, Nikita, and La Haine. Indeed, in the last decades the subject of French national identity has dominated cultural discussion and debate, in which the social impact of May 1968 and the challenges posed by multiethnic strife and globalization cannot be, and are not here, overlooked. In this edition, Hayward and Vincendeau particularly wished to respond to the reemergence in the 1990s of the traumatic memory of the Second World War in me public consciousness, which has come to fixate on national identity. The addition of chapter-based guides to further reading and filmographies and a final bibliography increases its usefulness to researchers. Hayward and Vincendeau have again succeeded, as with meir first edition in 1990, in garnering together from eighteen other specialists in the field a strikingly insightful and coherent collection of essays, invaluable to both students and scholars of French filmÂ-their explicitly stated goal in the introduction. The latter quality grows from not only the juxtaposition of all twenty-four works, covering a span of sixty-five years of spectatorship and popular and critical readings, but also each work's exemplarity as representative of a specific genre or creative process, an historical period, sociocultural movement, memory or mood. Susan Hayward and Ginette Vincendeau's French Film: Texts and Contexts offers at once critical depth in the rich analyses of the twenty-four films selected for this 2000 edition and a breadth of perspective on the history of French sound cinema from the early 1930s to the mid1990s. New York: Hill and Wang, 1964.In lieu of an abstract, here is a brief excerpt of the content:īook Reviews Susan Hayward and Ginette Vincendeau, eds. Cinema Eye, Cinema Ear: Some Key Film-Makers of the Sixties. “Creators on Creating.” Saturday Review 7 (November 1980): 40–44. Monaco, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, New York: Oxford UP, 1976. “It really makes you sick!: Jean-Luc Godard’s A Bout de Souffle (1959).” French Film: Texts and Contexts. “Woody Allen Interview: ‘At last I’m a foreign filmmaker.’ “ The Telegraph. Caroline Aaron, Kirstie Allen, and Woody Allen. London: Faber and Faber, 2004.ĭeconstructing Harry. Revolution!: The Explosion of World Cinema in the 60s. “Woody Allen: ‘All My Films Have a Connection with Magic.’ “ Positif 444 (February 1998): 11–16. 58–62.Ĭiment, Michel, and Garbarz, Franck. “Allen Goes Back to the Woody of Yesteryears.” Philadelphia Inquirer (15 February 1981). Woody Allen on Woody Allen: In Conversation with Stig Björkman. “French Film.” French Film: Texts and Contexts. This process is experimental and the keywords may be updated as the learning algorithm improves.Īrmes, Roy. These keywords were added by machine and not by the authors. This film not only explores referentiality textually, in questioning its importance for the protagonist’s very existence, but also, as we have come to expect with Allen, the film references the director’s previous works, and pays homage to a number of other eminent directors. Allen’s film invariably makes reference to both other cinematic works and indeed his own, and it is through this referentiality that Allen constructs meaning and builds the content of his profound and at times philosophical film. This work will consider the film through the critical lens of referentiality, understanding that Allen’s work does not only use intertextuality and systematic reference to other works, genres, and forms as an anchor point for his narrative within Deconstructing Harry, but that this approach is also evident throughout his cinematic technique and his employment of the formal elements of film. This film powerfully exudes the sense of referentiality that habitually forms an integral portion of Allen’s work, with the referentiality here being a fundamental component of both the narrative and the formal filmmaking process. Woody Allen’s Deconstructing Harry (1997) is a fascinating, frenetic, and fruitful pastiche of numerous telling flights of fancy, which combine to represent the bizarre tapestry that is the life of neurotic writer Harry Block.
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