Where is France in French cinema, 1976-2013?

Long, Christian B. (2015) Where is France in French cinema, 1976-2013?. International Journal of Humanities and Arts Computing, 9 2: 180-195. doi:10.3366/ijhac.2015.0148

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Author Long, Christian B.
Title Where is France in French cinema, 1976-2013?
Journal name International Journal of Humanities and Arts Computing   Check publisher's open access policy
ISSN 1753-8548
1755-1706
Publication date 2015
Sub-type Article (original research)
DOI 10.3366/ijhac.2015.0148
Open Access Status Not Open Access
Volume 9
Issue 2
Start page 180
End page 195
Total pages 16
Place of publication Edinburgh, Scotland, United Kingdom
Publisher Edinburgh University Press
Collection year 2016
Language eng
Abstract Using ArcGIS, this article maps the narrative locations of French cinema's box office successes and César du meilleur film winners against a self-consciously international version of prestige, the French submission for best foreign language film at the Oscars from 1976 (when the Césars began) to 2012. Mapping domestic consumption and prestige against the for-American-consumption vision of prestige and possible box office appeal will identify the settings that are associated with domestic and international locations of Frenchness. Do films that succeed at the box office connect themselves to France's main population centers—Paris, Lyon, Marseille, Lille—or to less-populated and economically vibrant regions, as with Bienvenue Chez les Ch'tis (2008) in Bergues? To what extent do prestige films seek out marginalized areas in which to set their stories, as in the Paris banlieues of La Haine (1996) or Sète in La Graine et le mullet (2008)? Do the films that France proposes to the Oscar voters address an imagined American preference for one part of France—Paris—over another, or do they turn to other, less globally-integrated locations? Where are the overlaps among these three categories? And where are the empty spaces that neither box office nor prestige address? This article will be a spatial history, drawing on Franco Moretti's ‘distant reading’ approach to groups of films to demonstrate the critical potential for mapping narrative locations as a way to conceive of the multiple nations—in this case France—that cinema imagines for its domestic and international audiences.
Keyword Film history
French cinema
GIS
Argentine cinema
Australian cinema
Q-Index Code C1
Q-Index Status Provisional Code
Institutional Status UQ

Document type: Journal Article
Sub-type: Article (original research)
Collections: Official 2016 Collection
School of Communication and Arts Publications
 
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Created: Wed, 16 Dec 2015, 15:17:38 EST by Christian Long on behalf of School of Communication and Arts