Avec la reproduction de 17 affiches de films réalisés par Jean-Luc Godard.

Avec la reproduction de 17 affiches de films réalisés par Jean-Luc Godard.

Ginette Vincendeau discusses the artistic value of his films in their proper context and comments on Jean-Pierre Melville's love of American culture and his controversial critical and political standing in this English language study.

Pop art was essential to the Americanization of global art in the 1960s, yet it engendered resistance and adaptation abroad in equal measure, especially in Paris. From the end of the Algerian War of Independence and the opening of Ileana Sonnabend’s gallery for American Pop art in Paris in 1962, to the silkscreen poster workshops of May ’68, this book examines critical adaptations of Pop motifs and pictorial devices across French painting, graphic design, cinema and protest aesthetics. Liam Considine argues that the transatlantic dispersion of Pop art gave rise to a new politics of the image that challenged Americanization and prefigured the critiques and contradictions of May ’68.

This volume is the product of a long-term collaboration between French and American scholars who share a common preoccupation with reading canonical and contemporary works of literature and cinema in a theoretical and pedagogical context. It offers a multipolar approach, informed by different historical, thematic, aesthetic, philosophical and formal perspectives, that allows for a more complete and nuanced understanding of the complex relations between artists and works commonly separated by disciplinary boundaries. The chapters cover a variety of literary genres and artistic forms such as the novel (Madame de Lafayette, Gustave Flaubert, André Weckmann, Ahmadou Kourouma, Calixthe Beyala, and Amélie Nothomb), poetry (Charles Baudelaire), theater (Aimé Césaire, Anne Hébert), the aphorism (Blaise Pascal), the essay (André Breton), the manifesto (Émile Zola), and film (François Truffaut, Ousmane Sembène), while also drawing parallels to works in other languages such as English and German in order to highlight the translingual and intercultural dimensions of the artistic process. Cet ouvrage, fruit d’une collaboration entre universitaires français et américains comportant aussi une dimension pédagogique, propose un nouveau cadre pour articuler, à partir de perspectives diverses, un dialogue critique, historique, thématique, philosophique et formel entre les œuvres classiques et contemporaines, françaises et francophones. Consacré principalement à la production de langue française et reposant sur un corpus représentatif qui rassemble roman (Madame de Lafayette, Gustave Flaubert, André Weckmann, Ahmadou Kourouma, Calixthe Beyala et Amélie Nothomb), poésie (Charles Baudelaire), théâtre (Aimé Césaire, Anne Hébert), aphorisme (Blaise Pascal), essai (André Breton), manifeste (Émile Zola) et cinéma (François Truffaut, Ousmane Sembène), le recueil inclut aussi des références aux classiques des autres littératures afin de mieux faire ressortir les dimensions translinguistiques et interculturelles des pratiques de création et de réception.

While François Mauriac's reputation as a novelist is well established, it is often forgotten that fiction forms only part of his output, and that in the post-war years especially, it was principally his activities as a journalist which kept him in the public eye. His interventions in the key debates of the period helped to consolidate his position as a major intellectual alongside Jean-Paul Sartre and Albert Camus. This book examines the evolution of François Mauriac's career during the twentieth century, and his gradual transformation from novelist to intellectual. Situating Mauriac and his activities firmly in their socio-cultural context, it draws in particular on the insights provided by Bourdieusian sociology to explore the mechanisms and social processes which allow Mauriac to emerge as an authoritative voice of moral conscience. In doing so, it offers new perspective on key moments in his career, from his changing fortunes as a novelist in the 1930s, examined here for the first time through the prism of his reception by the influential Nouvelle Revue française, to his unlikely collaboration with the then-radical L'Express in the 1950s. At the same time, it argues that tracing Mauriac's trajectory helps to crystallise the broader changes affecting the literary and cultural landscape in France during the twentieth century.

This revised and updated edition of a successful and established text provides a much-needed historical overview of French cinema from its roots through to the political and social developments in the 1990s and beyond.

Présente les tendances contemporaines de la création graphique en France : une sélection de six jeunes graphistes travaillant soit seuls, soit dans le cadre d'ateliers graphiques indépendants qu'ils ont fondés.