By Colin Crisp
Style, fantasy, and conference within the French Cinema, 1929–1939 examines vintage French movie, exploring and examining the cinema as an establishment, the textual method to which it gave upward thrust, and the sunshine that such an method can shed at the means of construction and reception of particular motion pictures. Colin Crisp identifies recurrent styles within the fields of personality, narrative, and surroundings within the French cinema of the early sound interval and delineates the myths that those styles embodied. partly One he discusses the 1,300 movies produced via the French cinema within the Nineteen Thirties, treating them as a unmarried worldwide textual method that returns obsessively to specific sorts of tale, personality, and surroundings. half bargains with guides of the interval that touch upon these movies. The vast viewer’s consultant and filmography make this ebook a necessary source for college kids of the heritage of cinema.
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Additional info for Genre, Myth, and Convention in the French Cinema: 1929-1939
Criminals may adopt the facade of a respectable identity, a famous personage may travel incognito, two individuals may exchange identities, or characters may disguise themselves as someone else, whether by way of masks, disguises, or disciplined transformations of their personality. The second category—of involuntary transformations—includes the horror transformations into werewolf, vampire, or other monster, Dr. Jekylls into Mr. Hydes, and the eugenic determination of a suppressed aspect of one’s personality, but also those involuntary transformations due to memory loss or other traumatic event.
67). 58). It is noticeable that the role of millionaire in these fairytale scenarios is curiously devoid of commercial context. There is seldom any sense that the wealthy have actually earned their wealth by financial or industrial activities. Indeed, as we will see, involvement in commercial activity was more likely, in the thirties, to have extremely negative connotations, with bankers, financiers, and industrialists suffering the most consistently unfavorable representation. In this sense, the millionaire of early-thirties fairytales is close to the aristocrat in that he or she inherits a largely decontextualized and dehistoricized status.
But it is the comic genres that most frequently deploy narrative mechanisms foregrounding identity, relying for their effect on such procedures as mistaken identities, assumed identities, aristocrats pretending to be servants or swapping roles with their servants with amorous intent, people with the same name or appearance as one another, and people who have constructed a false or fictional identity for themselves, perhaps subsequently being trapped into living up to it. Finally, though they were never common in the French classic cinema, horror films, with their literal transfigurations of the self into something other, splitting of the self into doubles, and selling of the self to the devil, make explicit what is often only implicit in less generic films.