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La Bienne by Renoir, Jules et Jim de Truffaut, Father Christmas is a scum of Poiré, La Cage aux folles by Édouard Molinaro, Three men and a bassinet by Coline Serreau. So many scenarios taken up by the American cinema industry. Since the mid-1930s more than 70 remakes of French films have been made in Hollywood. Are these new versions a mark of Hollywood imperialism or a form of exchange between French cinema and American cinema? Certified copies? Adaptations? Or authentic Hollywood translations? How to understand this cinematographic phenomenon while taking into account its unstable contours, the diversity of cases? Raphaëlle Moine chooses to show her multiple facets, both legal, economic and historical, and adopts a cultural approach to restore the remake to all its richness. "Thanks to the remakes, French cinema as such and as a whole gains an emotion, a creativity, an inventiveness that criticism in general denies it".

Film remakes --- Motion pictures --- Cinéma --- Music, Dance, Drama & Film --- Film --- History and criticism. --- Remakes. --- French cinema and hollywood --- Motion picture remakes --- Moving-picture remakes --- Remakes, Film --- Remakes

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Film and television offer important insights into social outlooks on borders in France and Europe more generally. This book undertakes a visual cultural history of contemporary borders through a film and television tour. It traces on-screen borders from the Gare du Nord train station in Paris to Calais, London, Lampedusa and Lapland. It contends that different types of mobilities and immobilities (refugees, urban commuters, workers in a post-industrial landscape) and vantage points (from borderland forests, ports, train stations, airports, refugee centers) are all part of a complex French and European border narrative. It covers a wide range of examples, from popular films and TV series to auteur fiction and documentaries by well-known directors from across Europe and beyond.

Borderlands in motion pictures. --- Boundaries in motion pictures. --- Motion pictures --- PERFORMING ARTS / Film & Video / History & Criticism. --- Claire Simon. --- European television. --- French cinema. --- Mahamat-saleh Haroun. --- Mapping. --- Migration. --- Robert Guédiguian. --- The Mediterranean. --- Tony Gatlif. --- Transnational cinema. --- cinéma-monde. --- History and criticism. --- Claire Simon. --- European television. --- French cinema. --- Mahamat-saleh Haroun. --- Mapping. --- Migration. --- Robert Guédiguian. --- The Mediterranean. --- Tony Gatlif. --- Transnational cinema. --- cinéma-monde.

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Motion picture producers and directors --- Bresson, Robert --- film --- filmgeschiedenis --- filmtheorie --- twintigste eeuw --- filmregisseurs --- Frankrijk --- Bresson Robert --- 791.471 BRESSON --- CPP --- Criticism and interpretation. --- French cinema --- Director --- 20th century --- Biography --- Bresson, Robert (1901-1999) --- Critique et interprétation

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Ce livre se propose de cerner quelques-unes des grandes tendances esthétiques et thématiques du cinéma français depuis une quinzaine d'années. A bien des égards, les années 1990 et 2000 ont modifié le concept même de " cinéma français " en procédant à une mise en perspective de sa notion la plus reconnue dans le monde, celle de l'auteur. On analysera donc les champs de prédilection d'un cinéma travaillé par son temps ainsi que par les tourments générationnels à l'heure de l'émiettement des idéologies, la place des nouvelles technologies dans la fiction et le documentaire, enfin toute la gamme de comportements sociaux, individuels et collectifs, pris dans les affres du corps et du langage. Autour d'un auteur, d'un film en particulier ou d'une problématique plus générale, l'ouvrage tente de faire le point sur les propositions les plus personnelles du cinéma français d'aujourd'hui.

Motion pictures --- Auteurification --- Cinéma --- Cinéma d'auteur --- History --- Aesthetics --- Histoire --- Esthétique --- French cinema --- 20th century --- Criticism --- Cinéma --- Cinéma d'auteur --- Esthétique --- Motion pictures - France - History - 20th century --- Motion pictures - France - History - 21st century --- France --- 1990-.... --- Histoire et critique

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The uprising which shook France in May 1968 also had a revolutionary effect on the country's most prominent film journal. Under editors Jean-Louis Comolli and Jean Narboni, 'Cahiers du cinema' embarked on a militant turn that would govern the journal's work over the next five years. With a Marxist orientation inspired by the thinking of Louis Althusser, Jacques Lacan and Roland Barthes, the "red years" of 'Cahiers du cinema' produced a theoretical outpouring that was formative for the establishment of film studies as an academic discipline in the 1970s, and is still of vital relevance for the contemporary audiovisual landscape. It was also the seminal experience for a generation of critics who have dedicated the following half-century to the task of critically responding to the cinema. 00'The Red Years of Cahiers du Cinema (1968-1973)' gives a historical overview of this period in the journal's history, combining biographical accounts of the critics who were involved with Cahiers in the post-1968 and theoretical explorations of the text they wrote.

cinema --- film --- filmkritiek --- Frankrijk --- filmgeschiedenis --- filmtheorie --- marxisme --- mei '68 --- 20e eeuw (twintigste eeuw) --- E-books --- Motion pictures --- HISTORY / Social History. --- Periodicals. --- Cahiers du cinéma, film theory, apparatus theory, political modernism, French cinema. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cahiers du cinema.