Books & Videos

2 x 50 Years of French Cinema.[Videorecording]

Directed by Anne-Marie Mieville and Jean-Luc Goddard. Rather than exulting the achievements of the last hundred years this entry laments the ways that cinema has been forgotten. It is a work of sadness, but also of mischievous and quirky humour. 1998.

Media Center Video/C MM444

Abel, Richard

The cine goes to town: French cinema, 1896-1914 / Richard Abel. Berkeley : University of California Press, c1994.

UCB Main PN1993.5.F7 A63 1994

Abel, Richard

The cine goes to town: French cinema, 1896-1914 / Richard Abel. Updated and expanded ed. Berkeley: University of California Press, 1998. Online access: UCSD: Access note: eScholarship. Restricted to UC campuses.

UCB Main PN1993.5.F7 A63 1998

UC users only

Abel, Richard

French cinema: the first wave, 1915-1929 / Richard Abel. Princeton, N.J. : Princeton University Press, c1984.

UCB Main PN1993.5.F7 A64 1984

UCB Moffitt PN1993.5.F7 A64 1984

Abel, Richard

French film theory and criticism: a history/anthology, 1907-1939 / Richard Abel. Princeton, N.J.: Princeton University Press, c1988.

UCB Main PN1995 .A22 1988 v. 1-2 (c1988)

UCB Moffitt PN1995 .A22 1988 v. 1-2

Abel, Richard

"Booming the film business: the historical specificity of early French cinema." In: Silent film / edited, and with an introduction by Richard Abel.p. 109-24. New Brunswick, N.J.: Rutgers University Press, c1996. Rutgers depth of field series.

Main Stack PN1995.75.S55 1996

Moffitt PN1995.75.S55 1996

Alexandre, Jean-Lou.

Les cousins des tricheurs : de la "qualite francaise" `a la nouvelle vague Paris : Harmattan, c2005.

MAIN: PN1993.5.F7 A44 2005

Andrew, Dudley

""Cinema colonial" of 1930s France: film narration as spatial practice." In: Visions of the East: orientalism in film / edited by Matthew Bernstein and Gaylyn Studlar. p. 207-31. New Brunswick, N.J.: Rutgers University Press, c1997.

Main Stack PN1995.9.E95.V57 1997

Andrew, James Dudley

Mists of regret: culture and sensibility in classic French film / Dudley Andrew. Princeton, N.J.: Princeton University Press, c1995.

UCB Main PN1993.5.F7 A745 1995

Andrew, Dudley

"Praying mantis: enchantment and violence in French cinema of the exotic." In: Visions of the East: orientalism in film / edited by Matthew Bernstein and Gaylyn Studlar.p. 232-52. New Brunswick, N.J.: Rutgers University Press, c1997.

Main Stack PN1995.9.E95.V57 1997

Armes, Roy.

French cinema / by Roy Armes. New York: Oxford University Press, 1985.

UCB Main PN1993.5.F7 A771 1985

UCB Moffitt PN1993.5.F7 A77 1985

Armes, Roy.

French cinema since 1946. London, Zwemmer; Cranbury (N.J.) Barnes, 1966- Series title: The International film guide series.

UCB Main PN1993.5.F7 A78 v.2 (1966)

Armes, Roy.

French cinema since 1946. 2nd enlarged ed. London, Zwemmer; [Cranbury] N.J., A. S. Barnes, 1970-

UCB Main PN1993.5.F7 A78 1970 v.1-2 (1970)

UCB Moffitt PN1993.5.F7 A782 v.1-2

Armes, Roy.

French film. [London] Studio Vista [New York, E. P. Dutton, 1970]. Series title: Studio Vista/Dutton pictureback.

UCB Moffitt PN1993.5.F7 A785

Atack, Margaret.

May 68 in French fiction and film: rethinking society, rethinking representation / Margaret Atack. Oxford; New York: Oxford University Press, 1999. Series title: Oxford studies in modern European culture.

UCB Grad Svcs DC33.7 .A83 1999

UCB Main DC33.7 .A83 1999

Austin, Guy.

Contemporary French cinema: an introduction / Guy Austin. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA and Canada by St. Martin's Press, c1996.

UCB Main PN1993.5.F7 A95 1996

Austin, Guy.

Stars in modern French film London: Arnold, 2003.

MAIN: PN1993.5.F7 A97 2003

Baecque, Antoine de.

La cinephilie: invention d'un regard, histoire d'une culture, 1944-1968 [Paris]: Fayard, c2003.

MAIN: PN1995 .B34 2003

Baecque, Antoine de.

La Nouvelle vague: portrait d'une jeunesse / Antoine de Baecque. Paris: Flammarion, c1998. Series title: Collection "Generations" (Flammarion (Firm))

UCB Main PN1993.5.F7 B18 1998

Bakker, Gerben.

Selling French films on foreign markets : the international strategy of a medium-sized French film company, 1919-1938 San Domenico : European University Institute, 2001.

MAIN: HF1009.7.F8 B35 2001

Bazin, Andre

Le cinema francais de la liberation a la nouvelle vague (1945-1958) / Andre Bazin; textes reunis et prefaces par Jean Narboni. Paris: Editions de l'Etoile, c1983. Series title: Cahiers du cinema. Essais.

UCB Main PN1994.A5 F7 B39, 1983

Bazin, Andre

Le cinema francais de la Liberation a la Nouvelle Vague (1945-1958) / Andre Bazin; textes reunis et prefaces par Jean Narboni. [Paris]: Cahiers du Cinema, c1998. Series title: Petite bibliotheque des Cahiers du cinema.

UCB Main PN1993.5.F7 B39 1998

Bazin, Andre

Le cinema de l'occupation et de la resistance / par Andre Bazin; pref. de Francois Truffaut. Paris: Union generale d'editions, c1975. Series title: 10/18; 988.

UCB Main PN1993.5.F7 .B3 1975

Bazin, Andre

Le cinema francais de la liberation a la nouvelle vague (1945-1958) / Andre Bazin; textes reunis et prefaces par Jean Narboni. Paris: Editions de l'Etoile, c1983. Series title: Cahiers du cinema. Essais.

UCB Main PN1994.A5 F7 B39, 1983

Bazin, Andre

Le cinema francais de la Liberation a la Nouvelle Vague (1945-1958) / Andre Bazin; textes reunis et prefaces par Jean Narboni. [Paris]: Cahiers du Cinema, c1998. Series title: Petite bibliotheque des Cahiers du cinema.

UCB Main PN1993.5.F7 B39 1998

Bazin, Andre

French cinema of the occupation and resistance: the birth of a critical esthetic / Andre Bazin; collected and with an introd. by Francois Truffaut ; translated by Stanley Hochman. New York, N.Y.: F. Ungar Pub. Co., c1981.

UCB Main PN1993.5.F7 .B313 *c2 copies

Bessy, Maurice

Histoire du cinema francais: encyclopedie des films / Maurice Bessy, Raymond Chirat. Paris: Pygmalion, c1986-.

UCB Main f PN1993.5.F7 B44 1986 [1-7] (c1986-c1992)

Beugnet, Martine.

Marginalite, sexualite, controle dans le cinema francais contemporain / Martine Beugnet. Paris: Harmattan, c2000. Series title: Collection Images plurielles.

UCB Main PN1993.5.F7 B47 2000

Bier, Christophe.

Censure-moi: histoire du classement X en France / Christophe Bier. Paris: Esprit frappeur, 2000. Series title: Esprit frappeur (Series); no 88.

UCB Main PN1995.65.F8 B5 2000

Biggs, Melissa E.

French films, 1945-1993: a critical filmography of the 400 most important releases / by Melissa E. Biggs. Jefferson, N.C.: McFarland, c1996.

UCB Main PN1993.5.F7 B52 1996

Billard, Pierre.

L'age classique du cinema francais: du cinema parlant a la Nouvelle Vague / Pierre Billard. [Paris]: Flammarion, c1995. Series title: Histoire du cinema francais (Flammarion (Firm))

UCB Main PN1993.5.F7 B55 1995

Binh, N. T., 1958-

Paris au cinema : la vie revee de la capitale de Meli`es `a Amelie Poulain Paris : Parigramme, c2003.

MAIN: PN1995.9.P3 B56 2003

Blum-Reid, Sylvie.

East-West encounters: Franco-Asian cinema and literature / Sylvie Blum-Reid. London; New York: Wallflower Press, 2003.

Main Stack PN1993.5.I82.B58 2003

Bordwell, David.

French impressionist cinema: film culture, film theory, and film style / David Bordwell. New York: Arno Press, 1980, c1974. Series title: Dissertations on film 1980.

UCB Main PN1995.9.I45 B6 1980

Brassart, Alain.

Les jeunes premiers dans le cinema francais des annees soixante Paris : Cerf ; Paris : Corlet, 2004.

MAIN: PN1993.5.F7 B675 2004

Brion, Patrick.

Cinema francais : 1895-2005 Paris : Adpf = Association pour la diffusion de la pensee francaise, c2005.

MAIN: PN1993.5.F7 B74 2005;

Buchsbaum, Jonathan

Cinema engage: film in the popular front / Jonathan Buchsbaum. Urbana: University of Illinois Press, c1988.

UCB Main PN1993.5.F7 B8 1988

UCB Moffitt PN1993.5.F7 B8 1988

Burch, Noel. Sellier, Genevieve.

"The 'Funny War' of the Sexes in French Cinema." In: Film and nationalism / edited and with an introduction by Alan Williams. pp: 152-77. New Brunswick, N.J.: Rutgers University Press, c2002. Rutgers depth of field series.

Table of Contents: http://www.loc.gov/catdir/toc/fy02/2001041685.html

Main Stack PN1994.F43817 2002

Buss, Robin.

The French through their films / Robin Buss. London: B.T. Batsford, 1988.

UCB Main PN1993.5.F7 B83 1988b

Butler, Margaret.

Film and community in Britain and France : from La r`egle du jeu to Room at the top London ; New York : I.B. Tauris ; New York: In the United States and Canada distributed by Palgrave Macmillan, 2004.

MAIN: PN1993.5.G7 B795 2004

Cahiers du cinema. London: Routledge and K. Paul in association with the British Film Institute, 1985-

UCB Main PN1995 .C29 1985b v.1-4 (1985-2000)

Cahiers du cinema, the 1950s: neo-realism, Hollywood, new wave

Edited by Jim Hillier. Cambridge, Mass.: Harvard University Press, 1985.

UCB Main PN1995 .C29 1985

UCB Moffitt PN1995 .C29 1985

Cairns, Lucille

Sapphism on screen : lesbian desire in French and Francophone cinema Edinburgh : Edinburgh University Press, c2006.

MAIN: PN1995.9.H55 C35 2006

Carou, Alain.

Le cinema francais et les ecrivains : histoire d'une rencontre, 1906-1914 Paris : Ecole nationale des chartes : Association francaise de recherche sur l'histoire du cinema, 2002.

MAIN: PN1995.3 .C37 2002

Chenille, Vincent.

Mais o`u sont les "salauds" d'antan? : 20 ans de patrons dans le cinema francais (1976-1997) Cessey-sur-Tille : Les Editions Mutine, 2001.

MAIN: PN1995.9.V47 C54 2001;

Cinema, colonialism, postcolonialism: perspectives from the French and francophone world

Edited by Dina Sherzer. 1st ed. Austin: University of Texas Press, 1996.

UCB Main PN1993.5.F7 C4788 1996

Le cinema francais face aux genres

sous la direction de Raphaelle Moine. Paris : Association francaise de recherche sur l'histoire du cinema, [2005]

MAIN: PN1993.5.F8 C56 2005

Le cinema francais: 1930-1960

Sous la direction de Philippe de Comes et Michel Marmin; avec la collaboration de Michele Caillot et Raymond Chirat. Paris: Editions Atlas, c1984.

UCB Moffitt PN1993.5.F7 C563 1984

Le Cinema francais, 1960-1985

Sous la direction de Philippe de Comes et Michel Marmin, avec la collaboration de Jean Arnoulx et Guy Braucourt. Paris: Editions Atlas, c1985.

UCB Main PN1993.5.F7 C564 1985

The cinema of France

Edited by Phil Powrie. London ; New York : Wallflower, 2006.

MAIN: PN1993.5.F7 C56 2006

Cluzel, Jean.

Propos impertinents sur le cinema francais Paris : Presses universitaires de France, 2003.

UMAIN: PN1993.5.F8 C58 2003

Colombat, Andr

The Holocaust in French film / by Andre Pierre Colombat. Metuchen, N.J.: Scarecrow Press, 1993. Series title: Filmmakers series; no. 33.

UCB Main PN1995.9.H53 C66 1993

Conway, Kelley.

"Flower of the Asphalt: The Chanteuse Realiste in 1930s French Cinema." In: Soundtrack available: essays on film and popular music / edited by Pamela Robertson Wojcik and Arthur Knight. pp: 134-60. Durham, NC: Duke University Press, 2001.

Music ML2075.S68 2001

Conway, Kelley.

Chanteuse in the city: the realist singer in French film / Berkeley: University of California Press, c2004.

MAIN: ML3489 .C66 2004

MUSI: ML3489 .C66 2004

Moffitt: ML3489 .C66 2004; circ info

Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000621.html

Cooper, Sarah

Selfless cinema? : ethics and French documentary Oxford : Legenda, 2006.

MAIN: PN1995.9.D6 C66 2006

Crisp, C. G.

The classic French cinema, 1930-1960 / Colin Crisp. Bloomington: Indiana University Press, c1993.

UCB Main PN1993.5.F7 C78 1993

Crisp, C. G.

Genre, myth, and convention in the French cinema, 1929-1939 / Colin Crisp. Bloomington, Ind.: Indiana University Press, 2002.

UCB Main PN1993.5.F7 C785 2002

Danan, Martine.

"From a 'Prenational' to a 'Postnational' French Cinema." In: The European cinema reader / edited by Catherine Fowler. pp: 232-45. London; New York: Routledge, 2002.

Main Stack PN1993.5.E8.E97 2002

PFA PN1993.5.E8.E97 2002 Pacific Film Archive collection; non-circulating

Dictionnaire du cinema populaire francais : des origines `a nos jours

sous la direction de Christian-Marc Bosseno et Yannick Dehee ; [preface de Jean-Jacques Bernard]. Paris : Nouveau Monde editions, [2004]

Main Stack PN1998.2.D53 2004

Dine, Philip D.

Images of the Algerian War: French fiction and film, 1954-1992 / Philip Dine. Oxford [England]: Clarendon Press; New York: Oxford University Press, 1994.

UCB Main PQ673 .D55 1994

Douchet, Jean.

Nouvelle vague / Jean Douchet; avec la collaboration de Cedric Anger. Paris: Cinematheque francaise: Hazan, 1998.

UCB Main PN1993.5.F7 D68 1998

Durham, Carolyn A.

Double takes: culture and gender in French films and their American remakes / Carolyn A. Durham. Hanover, NH: Dartmouth: University Press of New England, c1998. Series title: Contemporary French culture and society.

UCB Main PN1995.9.R45 D87 1998

Eades, Caroline.

Le cinema post-colonial francais Paris : Editions du Cerf ; Conde-sur-Noireau : Editions Corlet, 2006.

MAIN: PN1993.5.F8 E23 2006

Ehrlich, Evelyn.

Cinema of paradox: French filmmaking under the German occupation / Evelyn Ehrlich. New York: Columbia University Press, 1985.

UCB Main PN1993.5.F7 E38 1985

Flash-back sur la nouvelle vague

Dirige par Guy Gauthier. Conde-sur-Noireau : Corlet ; Paris : Telerama, 2002.

MAIN: PN1993.5.F7 F53 2002

Flitterman-Lewis, Sandy

To desire differently: feminism and the French cinema / Sandy Flitterman-Lewis. Urbana: University of Illinois Press, c1990.

UCB Main PN1995.9.W6 F6 1990

UCB Moffitt PN1995.9.W6 F6 1990

Flitterman-Lewis, Sandy

To desire differently: feminism and the French cinema/ Sandy Flitterman-Lewis. Expanded ed., Morningside ed., with a new preface and epilogue. New York: Columbia University Press, c1996.

UCB Main PN1995.9.W6 F6 1996

UCB Moffitt PN1995.9.W6 F6 1996

Forbes, Jill.

The cinema in France after the New Wave / Jill Forbes. [London]: British Film Institute; Basingstoke, Hampshire: Macmillan, 1992. Series title: British Film Institute cinema series (London, England)

UCB Main PN1993.5.F7 F56 1992

UCB Moffitt PN1993.5.F7 F56 1992

Ford, Charles

Histoire du cinema francais contemporain, 1945-1977 / Charles Ford. Paris: Editions France-Empire, c1977.

UCB Main PN1993.5.F7 .F57

Fowler, Roy Alexander.

The film in France. London, Pendulum Publications, 1946.

UCB Main PN1993.5.F7 F6

France in focus: film and national identity

Edited by Elizabeth Ezra and Sue Harris. Oxford; New York: Berg, 2000.

UCB Main PN1993.5.F8 F73 2000

France on film: reflections on popular French cinema

Edited by Lucy Mazdon. London: Wallflower, 2001.

UCB Main PN1993.5.F7 F71 2001

The French cinema book

Edited by Michael Temple and Michael Witt. London: BFI, 2004.

GRDS: PN1993.5.F8 F74 2004; Non-circulating; may be used only in Graduate Services.

MAIN: PN1993.5.F8 F74 2004

French cinema in the 1990s: continuity and difference: essays

Edited by Phil Powrie. Oxford; New York: Oxford University Press, 1999.

UCB Main PN1993.5.F7 F72 1999

French film, texts and contexts

Edited by Susan Hayward and Ginette Vincendeau. London; New York: Routledge, 1989.

UCB Main PN1993.5.F7 F74 1989

UCB Moffitt PN1993.5.F7 F74 1990

French film: texts and contexts

Edited by Susan Hayward and Ginette Vincendeau. 2nd ed. London; New York: Routledge, 2000.

UCB Main PN1993.5.F7 F74 2000

Frodon, Jean-Michel.

L'age moderne du cinema francais: de la Nouvelle Vague a nos jours / Jean-Michel Frodon. [Paris]: Flammarion, c1995. Series title: Histoire du cinema francais (Flammarion (Firm))

UCB Main PN1993.5.F7 F77 1995

Garcin, Jerome.

Le masque et la plume : cinema, litterature, theatre, une annee de passions et de polemiques Paris : Ar`enes; Paris : France inter, 2007.

MAIN: PN1991.77.M37 G37 2007

Gay signatures: gay and lesbian theory, fiction and film in France, 1945-1995

Edited by Owen Heathcote, Alex Hughes and James S. Williams. Oxford; New York: Berg, 1998. Series title: Berg French studies.

UCB Main PQ307.H6 G39 1998

Gender and French cinema

Edited by Alex Hughes and James S. Williams. Oxford; New York: Berg, 2001.

UCB Main PN1993.5.F7 G46 2001

Gilles, Christian

Les ecrans nostalgiques du cinema francais Paris : Harmattan, c2002.

MAIN: PN1993.5.F7 G554 2002

Gordon, Rae Beth.

"Laughing Hysterically: Gesture, Movement and Spectatorship in Early French Cinema." In: Moving forward, holding fast: the dynamics of nineteenth-century French culture / edited by Barbara T. Cooper and Mary Donaldson-Evans. pp: 217-37 Amsterdam; Atlanta, GA: Rodopi, 1997. (Series: Faux titre; no. 130)

Main Stack PQ292.M68 1997

Gordon, Rae Beth

Why the French love Jerry Lewis: from cabaret to early cinema / Rae Beth Gordon. Stanford, Calif.: Stanford University Press, 2001.

Main Stack PN1969.C34.G67 2001

Gozillon-Fronsacq, Odile.

Cinema et Alsace : strategies cinematographiques, 1896-1939 Paris : Association francaise de recherche sur l'histoire du cinema, 2003.

MAIN: PN1993.5.F7 G68 2003

Graham, Peter John

The new wave; critical landmarks, selected by Peter Graham. Garden City, N.Y., Doubleday, 1968. Series title: Cinema world, 5.

UCB Moffitt PN1993.5.F7 G7

Graham, Peter John

The new wave: critical landmarks selected by Peter Graham. London, Secker & Warburg, 1968. Series title: Cinema one series 5.

UCB Main PN1993 .C45 v.5 PHOTOCOPY.

Greene, Naomi

Landscapes of loss: the national past in postwar French cinema / Naomi Greene. Princeton, N.J.: Princeton University Press, c1999.

UCB Main PN1993.5.F7 G72 1999

Grossvogel, David I.

Didn't you used to be Depardieu?: film as cultural marker in France and Hollywood / David I. Grossvogel. New York: P. Lang, c2002. Series title: Framing film; v. 5.

UCB Main PN1995.9.R45 G76 2002

Grossvogel, David I.

Marianne and the Puritan : transformations of the couple in French and American films Lanham, Md.: Lexington Books, c2005.

MAIN: PN1995.9.M27 G76 2005

Guibbert, Pierre.

L'histoire de France au cinema / Pierre Guibbert, Marcel Oms; avec le concours de Michel Cade. Conde-sur-Noireau: Corlet; [S.l.]: Association Les amis de notre histoire, c1993. Series title: CinemAction;.

UCB Main PN1995.9.F78 G85 1993

Guillaume-Grimaud, Genevieve.

Le cinema du Front populaire / Genevieve Guillaume-Grimaud; postface de Genevieve Joutard. Paris: Lherminier, c1986. Series title: Le Cinema et son histoire.

UCB Main PN1993.5.F7 G77 1986

Harvey, Sylvia.

May '68 and film culture / Sylvia Harvey. London: BFI Pub., 1978 (1980 printing).

UCB Main PN1995 .H387 1980

Hayward, Susan

French national cinema London ; New York : Routledge, 2005.

MOFF: PN1993.5.F7 H39 2005; View current status of this item

Table of contents http://www.loc.gov/catdir/toc/ecip052/2004024443.html

Hayward, Susan

French national cinema / Susan Hayward. London; New York: Routledge, 1993. Series title: National cinemas.

UCB Main PN1993.5.F7 H39 1993

Hayward, Susan

"France avance- detour- retour: French cinema of the 1980s." In: In: Contemporary France: a review of interdisciplinary studies / edited by Jolyon Howorth and George Ross. p. 156-67. London: F. Pinter, 1987.

Main Stack HN425.5.C661 1987

Higgins, Lynn A.

New novel, new wave, new politics: fiction and the representation of history in postwar France / Lynn A. Higgins. Lincoln: University of Nebraska Press, c1996. Series title: Stages (Series);.

UCB Main PN1995.3 .H54 1996

Une histoire du cinema francais

Sous la direction de Claude Beylie; preface de Raymond Chirat. Paris: Larousse, 2000.

UCB Main PN1993.5.F7 H57 2000

Hubert-Lacombe, Patricia.

Le cinema francais dans la guerre froide: 1946-1956 / Patricia Hubert-Lacombe. Paris: L'Harmattan, c1996. Series title: Champs visuels (Unnumbered)

UCB Main PN1993.5.F7 H83 1996

Hugues, Philippe d'.

Les ecrans de la guerre : le cinema francais de 1940 `a 1944 Paris : Editions de Fallois, c2005.

MAIN: PN1993.5.F8 H84 2005

Jeancolas, Jean-Pierre

Le cinema des Francais: la Ve Republique, 1958-1978 / Jean-Pierre Jeancolas. Paris: Stock, c1979. Series title: Cinema (Paris)

UCB Main PN1993.5.F7 J38

Jeancolas, Jean-Pierre

Histoire du cinema francaisParis : A. Colin, 2005.

MAIN: PN1993.5.F7 J43 2005;

Kline, T. Jefferson (Thomas Jefferson)

Screening the text: intertextuality in new wave French cinema / T. Jefferson Kline. Baltimore: Johns Hopkins University Press, c1992.

UCB Main PN1993.5.F7 K57 1992

UCB Moffitt PN1993.5.F7 K57 1992

Lanzoni, Remi Fournier.

French cinema : from its beginnings to the present New York : Continuum, 2002.

MAIN: PN1993.5.F7 L33 2002

MOFF: PN1993.5.F7 L33 2002

Lowry, Edward

The filmology movement and film study in France / Edward Lowry. Ann Arbor, Mich.: UMI Research Press, c1985. Series title: Studies in cinema; no. 33.

UCB Main PN1993.8.F7 L68 1985

Marie, Laurent.

Le cinema est `a nous : le PCF et le cinema francais de la liberation `a nos jours Paris : Harmattan, c2005.

MAIN: PN1993.5.F7 M369 2005;

Marie, Michel

The French new wave: an artistic school / Michel Marie; translated by Richard Neupert. Malden, MA: Blackwell Pub., 2003.

UCB Main PN1993.5.F7 M2713 2003

Martin, John W. (John Wiley)

The golden age of French cinema, 1929-1939 / John W. Martin. Boston: Twayne, 1983. Series title: Twayne's filmmakers series.

UCB Main PN1993.5.F7 M28 1983

UCB Moffitt PN1993.5.F7 M28 1983

Mary, Philippe.

La nouvelle vague et le cinema d'auteur : Socio-analyse d'une revolution artistique Paris : Seuil, c2006.

MAIN: PN1993.5.F7 M297 2006

Michalczyk, John J.

The French literary filmmakers / John J. Michalczyk. Philadelphia: Art Alliance Press; London: Associated University Presses, c1980.

UCB Main PN1993.5.F7 .M48

Millot, Olivier.

Camera plein champ : la banlieue au cinema, le cinema en banlieue [Paris] : Creaphis, c2003.

MAIN: PN1995.9.S74 M55 2003

Monaco, James.

The new wave: Truffaut, Godard, Chabrol, Rohmer, Rivette / James Monaco. New York: Oxford University Press, 1976.

UCB Main PN1993.5.F7 M61

UCB Moffitt PN1993.5.F7 M6

Monaco, James.

Cinema and society: France and Germany during the Twenties / Paul Monaco. New York: Elsevier, c1976.

UCB Main PN1995.9.S6 M61

UCB Moffitt PN1995.9.S6 M61

Myrent, Glenn.

Henri Langlois, first citizen of cinema / Glenn Myrent and Georges P. Langlois; translated from the French by Lisa Nesselson; preface by Akira Kurosawa. New York: Twayne; London: Prentice Hall International, c1995. Series title: Twayne's filmmakers series.

UCB Main PN1998.3.L38 L3613 1994

UCB Moffitt PN1998.3.L38 L3613 1994

Neupert, Richard John.

A history of the French new wave cinema / Richard Neupert. 2nd ed. Madison, Wis. : University of Wisconsin Press, c2007.

Main Stack PN1993.5.F7.N48 2007 DD>PFA PN1993.5.F7.N48 2007

Contents: Cultural contexts : where did the wave begin? -- Testing the water : Alexandre Astruc, Agnès Varda, and Jean-Pierre Melville -- New stories, new sex : Roger Vadim and Louis Malle -- Claude Chabrol : launching a wave -- Francois Truffaut : the new wave's ringleader -- Jean-Luc Godard : Le petit soldat -- The cahiers du cinema cohort : Eric Rohmer, Jacques Rivette, Jacques Doniol-Valcroze, and Pierre Kast -- On the new wave's Left Bank : Alain Resnais and Agnès Varda.

La nouvelle vague: Claude Chabrol, Jean-Luc Godard, Jacques Rivette, Eric Rohmer, Francois Truffaut

Textes et entretiens parus dans les Cahiers du cinema, reunis par Antoine de Baecque et Charles Tesson; precedes... [Paris]: Cahiers du cinema, c1999. Series title: Petite bibliotheque des Cahiers du cinema 27.

UCB Main PN1993.5.F7 N68 1999

Nouvelle vague, nouveaux rivages: permanences du recit au cinema, 1950-1970

Textes reunis et presentes par Jean Cleder et Gilles Mouellic. Rennes: Presses universitaires de Rennes, 2001. Series title: Interferences (Unnumbered)

UCB Main PN1993.5.F7 N67 2001

La nouvelle vague: une legende en question

Edited by Antoine de Baecque and Charles Tesson]. Paris: Cahiers du cinema, [1998]. Series title: Cahiers du cinema. Hors serie;.

UCB Main PN1993.5.F7 N6 1998

Neupert, Richard John.

A history of the French new wave cinema / Richard Neupert. Madison, Wis.: University of Wisconsin Press, c2002. Series title: Wisconsin studies in film.

UCB Main PN1993.5.F7 N48 2002

O'Brien, Charles

Cinema's conversion to sound : technology and film style in France and the U.S. Bloomington : Indiana University Press, c2005.

MAIN: PN1995.7 .O27 2005

Table of contents: http://www.loc.gov/catdir/toc/ecip0417/2004009891.html

On translating French literature and film /

Edited by Geoffrey T. Harris. Amsterdam; Atlanta, GA: Rodopi, 1996- Series title: Rodopi perspectives on modern literature; 16, etc.

UCB Main PQ144 .O53 1996

On translating French literature and film. II /

Edited by Myriam Salama-Carr. Amsterdam; Atlanta, GA: Rodopi, 2000. Series title: Rodopi perspectives on modern literature; 22.

UCB Main PQ144 .O532 2000

Paris, James Reid.

The great French films / by James Reid Paris; introduction by Francois Truffaut. 1st ed. Secaucus, N.J.: Citadel Press, c1983.

UCB Main PN1993.5.F7 P276 1983

Pauly, Rebecca M.

The transparent illusion: image and ideology in French text and film / Rebecca M. Pauly. New York: P. Lang, c1993. Series title: Ars interpretandi (New York, N.Y.); v. 3.

UCB Main PN1993.5.F7 P35 1993

Powrie, Phil.

French cinema in the 1980s: nostalgia and the crisis of masculinity / Phil Powrie. Oxford [England]; New York: Clarendon Press, 1997.

UCB Main PN1993.5.F7 P6 1997

Powrie, Phil.

French cinema: a student's guide / Phil Powrie and Keith Reader. London: Arnold, 2002.

UCB Main PN1993.5.F7 P68 2002

Reader, Keith.

Cultures on celluloid / Keith Reader. London; New York: Quartet Books, 1981.

UCB Main PN1993.5.U6 .R4

Rediscovering French film

Edited by Mary Lea Bandy; introduction by Richard Roud. New York: Museum of Modern Art; Boston: Distributed by New York Graphic Society Books, Little, Brown, c1983.

UCB Main PN1993.5.F7 R39 1983

Sadoul, Georges

Ecrits / Georges Sadoul. Paris: Union generale d'editions, c1979- Series title: 10/18; no 1302.

UCB Main AC20 .M6 no.1302 1 AT NRLF: no.1302

NRLF AC20 .M6 no.1302 no.1302

Sadoul, Georges

French film. [London] Falcon Press [1953]. Series title: National cinemas series.

UCB Main PN1993.5.F7 S33

Sadoul, Georges

Histoire du cinema francais, 1890-1962 / Georges Sadoul. [Paris: Club des Editeurs, 1962]. Series title: Hommes et faits de l'histoire.

UCB Main PN1993.5.F7 S35

Sellier, Genevieve. Colvin, Margaret (translator).

"French Women Making Films in the 1990s." In: Beyond French feminisms: debates on women, politics, and culture in France, 1981-2001 / edited by Roger Celestin. pp: 213-22. 1st ed. New York: Palgrave Macmillan, 2003.

Main Stack HQ1613.B44 2003

Smith, Alison

French cinema in the 1970s : the echoes of May Manchester ; New York : Manchester University Press : Distributed exclusively in the USA by Palgrave, 2005.

MAIN: PN1993.5.F7 S65 2005

Slavin, David Henry.

Colonial cinema and imperial France, 1919-1939: white blind spots, male fantasies, settler myths / David Henry Slavin. Baltimore: Johns Hopkins University Press, 2001.

UCB Main PN1993.5.F7 S587 2001

Slide, Anthony.

Fifty classic French films, 1912-1982: a pictorial record / Anthony Slide. New York: Dover Publications, 1987.

UCB Morrison PN1993.5.F7 S561 1987 Morrison permanent collection

Smith, Alison

French cinema in the 1970s : the echoes of May Manchester ; New York : Manchester University Press : Distributed exclusively in the USA by Palgrave, 2005.

MAIN: PN1993.5.F7 S65 2005

Sorlin, Pierre.

"France: The Silent Memory." In: The First World War and popular cinema: 1914 to the present / edited by Michael Paris. pp: 115-37 New Brunswick, N.J.: Rutgers University Press, 2000.

Main Stack D522.23.F57 2000

Spaas, Lieve.

The Francophone film: a struggle for identity / Lieve Spaas. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA by St. Martin's Press, 2000.

UCB Main PN1993.5.F7 S63 2000

Tarr, Carrie.

Cinema and the second sex: women's filmmaking in France in the 1980s and 1990s / Carrie Tarr with Brigitte Rollet. New York: Continuum, 2001. Series title: Women make cinema.

UCB Main PN1993.5.F7 T27 2001

Tarr, Carrie.

Reframing difference : beur and banlieue filmmaking in France Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2005. --MAIN: PN1993.5.F7 T37 2005;

Thaisy, Laurence

La politique cinematographique de la France en Allemagne occupee, 1945-1949 Villeneuve-d'Ascq : Presses universitaires du Septentrion, c2006.

MAIN: PN1995.9.P6 T483 2006

Thiher, Allen

The cinematic muse: critical studies in the history of French cinema / Allen Thiher. Columbia: University of Missouri Press, 1979.

UCB Main PN1993.5.F7 .T47

Ulff-Moller, Jens.

Hollywood's film wars with France: film-trade diplomacy and the emergence of the French film quota policy / Jens Ulff-Moller. Rochester, NY: University of Rochester Press, 2001.

UCB Main PN1993.5.U6 U15 2001

Vincendeau, Ginette

Stars and stardom in French cinema / Ginette Vincendeau. London; New York: Continuum, 2000.

UCB Main PN1998.2 .V56 2000

La Vie est a nous!: French cinema of the Popular Front 1935-1938

Edited by Ginette Vincendeau and Keith Reader. London: BFI, 1986. Series title: NFT dossier; no. 3.

UCB Main PN1993.5.F7 V54 1986

Waldman, Harry.

Paramount in Paris: 300 films produced at the Joinville Studios, 1930-1933, with credits and biographies / Harry Waldman; Anthony Slide, consulting editor. Lanham, Md.: Scarecrow Press, 1998.

UCB Main PN1999.P3 W36 1998

Weber, Alain

Cinema(s) francais 1900-1939 : pour un monde different Paris : Seguier, c2002.

MAIN: PN1993.5.F7 W43 2002

Weiner, Susan

Enfants terribles: youth and femininity in the mass media in France, 1945-1968 / Susan Weiner. Baltimore: Johns Hopkins University Press, 2001.

Main Stack P94.5.Y722.F838 2001

Williams, Alan Larson.

Republic of images: a history of French filmmaking / Alan Williams. Cambridge, Mass.: Harvard University Press, 1992.

UCB Main PN1993.5.F7 W55 1992

UCB Moffitt PN1993.5.F7 W55 1992

Wilson, Emma.

French cinema since 1950: personal histories / Emma Wilson. Lanham, MD : Rowman and Littlefield, c1999. Series title: Film studies (Boulder, Colo.)

UCB Main PN1993.5.F7 W57 1999b

Zants, Emily.

Chaos theory, complexity, cinema, and the evolution of the French novel / Emily Zants. Lewiston [N.Y.]: E. Mellen press, 1996. Series title: Studies in French literature (Lewiston, N.Y.); v. 25.

UCB Main PQ631 .Z36 1996

Zants, Emily.

Creative encounters with French films / Emily Zants. San Francisco: EmText, c1993.

UCB Main PN1993.5.F7 Z36 1993

Journal Articles

Austin, Guy.

"Vampirism, gender wars and the 'Final Girl': French fantasy film in the early seventies." (100 Years of French Cinema) French Cultural Studies, Oct 1996 v7 n3 p321(11)

"The social unrest of May 1968 and the rise of French feminism in its aftermath led to a spate of French fantasy films on the subjects of female vampirism and warfare between the sexes. The protagonist of such films was often the surviving female victim and heroine, the 'Final Girl,' who has become so prevalent a figure in US horror films since the late 1970s. The French vampire and gender warfare films of the 1970s, such as Bertrand Blier's 'Calmos,' and Louis Malle's 'Black Moon,' mostly constitute a male response to the feminist movement." [Expanded Academic Index]

Bluher, Dominique.

"Hip-Hop Cinema in France." Camera Obscura: A Journal of Feminism, Culture, and Media Studies. 46: 77-96. 2001.

Caille,Patricia

"From French stars to Frenchmen in postwar national culture." (Critical Essay) Quarterly Review of Film and Video Jan 2002 v19 i1 p43(15)

"French national culture is commonly identified with the nation's motion pictures, and many French films after World War II valorized male stars as common folk who survived through a combination of courage and determination. Most relationships in films of this period were heterosexual with women conceding sexual inequality." [Expanded Academic Index]

Carr, Thomas M., Jr.

"Exploring the Cultural Content of French Feature Films." The French Review Vol. 53, No. 3 (Feb., 1980), pp. 359-368

UC users only

Conley, Tom.

"Revamping Irma: Immodest Reflections on French Cinema and Globalization." Sites: The Journal of Twentieth Century Contemporary French Studies. 4 (2): 417-33. 2000

Coquet, Francoise.

"Du muet a 'la voix inouie.' Les accents dans les films francais." French Studies Bulletin: A Quarterly Supplement, vol. 54, pp. 14-17, Spring 1995.

"French motion pictures, with few exceptions, use only two accents, the Parisian and that of the Midi in southern France. The full range of France's regional phonological diversity has not been well represented in the French cinema. The early example of Jean Renoir, who insisted on authenticity and used many different accents in his films, has not been followed. The influence of the New Wave films has led to the lack of attention to regional accents. Article text is in French." [Expanded Academic Index]

Danan, Martine.

"French cinema in the era of media capitalism." Media, Culture & Society May 2000 v22 i3 p355(10)

The author examines France's attempt to promote its film industry internationally. Topics include capitalism, web site use, and French culture.

Danan, Martine.

"French Patriotic Responses to Early American Sound Films." Contemporary French Civilization: An Interdisciplinary Journal Devoted to the Study of French Speaking Cultures throughout the World. 20 (2): 294-303. 1996 Summer-Fall.

Danan, Martine.

"Marketing the Hollywood blockbuster in France." Journal of Popular Film and Television Fall 1995 v23 n3 p131(10) (6790 words)

UC users only

" Motion pictures produced by major Hollywood studios have gained a considerable following in France, despite the country's established film industry. The appeal of US blockbusters stems from the coordination between global and local marketing companies, novel advertising and publicity methods, and the ability to circumvent French legislative restrictions. Marketing research is also important in targeting specific French audiences and preferences." [Expanded Academic Index]

Delacroix, Jacques, and Julien Bornon.

"Can protectionism ever be respectable? A skeptic's case for the cultural exception, with special reference to French movies." Independent Review 9.3 (Wntr 2005): 353(22).

UC users only

"Dossier: etat du cinema francais dans le monde: 15 article special section." Cahiers du Cinema no. 568 (May 2002) p. 68-99

A special section on the state of the French film industry in the world today. Subjects discussed include the economic success of the French film industry in 2001, the perception of French cinema abroad, the influence of French New Wave cinema on contemporary filmmaking, filmmaker Luc Besson, and the international reputation of filmmaker Catherine Breillat.

Forbes, Jill.

"Winning hearts and minds: the American cinema in France 1945-49." (France and the Cold War) French Cultural Studies Feb 1997 v8 n1 p29(12)

" US attempts at defeating communism through American propagandist cinema in France after World War II led to a culture war with the French film industry which spawned an intensely creative period in international film history. Though many believed the onslaught of American films and the subsequent Coca-Cola culture were aimed at France, the real intended victim was communist ideology. American cinema of the time also offered the French audience alternative views of psychological and artistic interpretations." [Expanded Academic Index]

Gaycken, Oliver.

"'A drama unites them in a fight to the death': some remarks on the flourishing of a cinema of scientific vernacularization in France, 1909-1914." Historical Journal of Film, Radio and Television August 2002 v22 i3

Gillain, Anne

"L'imaginaire feminin au cinema." The French Review, Dec 1996 v70 n2 p259(12)

"A renaissance in French cinema by women has taken place in the mid-1990s. Almost two-thirds of the students admitted to French film academies are women and noted actresses such as Daniele Delorme, Isabelle Adjani and Jeanne Moreau have been active in governmental aid to French cinema. With women receiving the training and the financing to transform their creative vision into reality, this creative vision is really starting to show in French cinema. Twelve French films and Jane Campion's 'The Piano' provide the vehicles for studying this vision. The protagonists of these films are not married and they show a Medusean strength. In speaking of female silence, these films abolish such silence." [Expanded Academic Index]

Glynn, Stephen T.

"Art, cinema and Paristitution: social context and visual narrative in Impressionist art and New Wave cinema." Word & Image v. 12 (July/September 1996) p. 291-307

"The writer compares Impressionism with French New Wave cinema. Each movement was initially labeled for journalistic convenience. Neither was a homogeneous school with a unified program and clearly defined principles or technique. Each almost entirely male group coalesced in Paris in reaction to a prevailing orthodoxy. Neither phenomenon would have been possible were it not for a corresponding revolution in their respective technologies. Part of the modernity of the New Wave can be attributed to the use of new lightweight Eclair Cameflex cameras, Nagra sound-recording technology, new lighting equipment, and fast film stock. These innovations allowed the new breed of directors to bypass the conventions of the despised "cinema de qualite" and capture existence on the move and in all its detail. Similarly, the effects of the introduction of screw-capped tubes of readymade paint from the 1830s onwards included making painting outdoors much easier. To support this argument, a number of films by Jean-Luc Godard are discussed." [Art Index]

Hanley, Sarah.

"European history in text and film: community and identity in France, 1550-1945." (Forum: Film in the Teaching of French History) French Historical Studies Wntr 2002 v25 i1 p3(17)

Teaching of a course entitled "European History in Text and Film: Community and Identity in France, 1550-1945" is discussed. Topics include the pairing of texts and films, visual literacy, and critical judgments.

Higgins, Lynn A. (ed. and introd.). Krauss, Dalton (ed. and introd.). Ungar, Steven (ed. and introd.).

"Gender and French Film Since the French New Wave/Questions de 'gender' dans le cinema francais depuis la Nouvelle Vague." Esprit Createur. 42 (1): 3-135. 2002 Spring.

Hill, Leslie.

"Filming ghosts: French cinema and the Algerian war." Modern Fiction Studies Autumn 1992 v38 n3 p787(18)

"Two French films explore and describe the relationship between French politics and the Algerian war. Patrick Rotman and Bertrand Tavernier's 'The Undeclared War' consists of interviews of conscripts for the war. Their varied experiences recreate the politics in France and Algeria and the latter's exploitation by the former. The film confronts oppression, torture and exploitation of the natives of Algeria, and poignantly expresses memories of the past. Alain Resnais's 'Muriel' portrays Algeria in the archetypal figure of Muriel, who is tortured and killed. Muriel's non-presentation on-screen makes her a preternatural woman of symbolic significance." [Expanded Academic Index]

Humbert, Brigitte

"Screening France." French Politics, Culture and Society Summer 2003 v21 i2 p81(15) (6947 words)

Jackel, Anne.

"France and Romanian cinema 1896-1999." (La France et les pays de l'Est) French Cultural Studies Oct 2000 v11 i3 p409(16)

"The role of France in Romanian cinema is discussed from the late 19th century on. The discussion is divided into periods, beginning with 1896-1948, followed by post-World War II developments, the late 50s and 60s, the 70s and 80s, and the 1990s." [Expanded Academic Index]

Le Quesne, Nicholas, Bruce Crumley.

"Crossing Borders: Dispensing with tradition, the next generation of filmmakers, athletes, authors and actors is leaping France's national, cultural and linguistic barriers." (Culture)(Interview) Time International April 22, 2002 v159 i15 p78+ (1288 words)

McMahan, Alison.

"Eastern Westerns: Early French Constructions of American Identity." Quarterly Review of Film and Video. 18 (3): 295-303. 2001 July.

Menand, Louis.

"Paris, Texas: How Hollywood Brought the Cinema Back from France." New Yorker. 79 (1): 169-77. 2003 Feb 17-24.

Mercken-Spaas, Godelieve

"The New Wave: Introductory Notes." The French Review Vol. 50, No. 5 (Apr., 1977), pp. 783-784

UC users only

Morrisson, Iain.

"The French New Wave and the Faces." Images 4

Murray, Alison.

"Teaching colonial history through film." (Forum: Film in the Teaching of French History) French Historical Studies Wntr 2002 v25 i1 p41(12)

The use of film to teach French colonial history is discussed. Topics include film as a source for colonial history and ways of integrating films into the classroom. A select filmography is included.

Nesselson, Lisa.

"Cinematic history seen through Gaumont's lens.(GAUMONT AT 110)." Variety 398.12 (May 9, 2005): A13(2).

UC users only

"The hithistory of the 110-year-old French film production company Gaumont is discussed. The founding of the company by Léon Gaumont is touched upon, as are several of the company's successful movies produced since 1895. Other accomplishments related to the studio are mentioned." [IIPA]

Nettelbeck, Colin.

"Bazin's Rib? French Women Film-Makers and the Evolution of the Auteur Concept." Nottingham French Studies. 41 (2): 106-26. 2002 Autumn.

O'Brien, Charles.

"Stylistic description as historical method: French films of the German Occupation." (Style in Cinema) Style Fall 1998 v32 i3 p427(2) (10251 words)

UC users only

Author's Abstract: COPYRIGHT 1998 Northern Illinois University "This article uses the French cinema of the occupation as a case study for inquiry into the function of stylistic analysis within film historiography. Centering on techniques of film sound, the case study concerns a shift away from direct sound, the standard sound technique in France during the 1930s, and toward postsynchronization, which became the norm during the occupation. The basic methodological claim is that the descriptive analysis of film style can reveal a pre-reflective aspect of film practice inaccessible to critical approaches that attempt to explain style with reference to causes external to the domain of film practice." [Expanded Academic Index]

Orlando, Valerie.

"From rap to rai in the mixing bowl: beur hip-hop culture and banlieue cinema in Urban France." (Critical Essay) Journal of Popular Culture Wntr 2003 v36 i3 p395(21) (7673 words)

"Contemporary French hip-hop culture's music and films demonstrate how the urban multiethnic communities of France are being reconstructed to bring the voice of the disconnected into the mainstream. As these artistic modes exemplify, France's identity is no longer rooted in the tenets of assimilationist theory which marginalize ethnic minorities on the peripheries of "Franqais-de-souche" culture."

Oxenhandler, Neal

"The Dialectic of Emotion in New Wave Cinema." Film Quarterly Vol. 27, No. 3 (Spring, 1974), pp. 10-19

UC users only

Powrie, Phil.

"Transitional Woman: New Representations of Women in Contemporary French Cinema." Esprit Createur. 42 (3): 81-91. 2002 Fall.

Quandt, James

"Flesh & Blood: Sex and Violence in Recent French Cinema." Artforum International v. 42 no. 6 (February 2004) p. 126-32

"There has been a growing vogue for shock tactics in French cinema over the past ten years. Images and subjects that were once the provenance of splatter films, exploitation flicks, and porn proliferate in the high-art environs of a national cinema whose provocations have historically been political, formal, or philosophical, or, at their most immoderate, assimilable as emanations of an artistic movement (Surrealism, mostly). One suspects that this recent tendency toward the willfully transgressive, by directors like Francois Ozon, Gaspar Noe, Catherine Breillat, Philippe Grandrieux, and Bruno Dumont, is a narcissistic response to the collapse of ideology in a society traditionally defined by political polarity and theoretical certitude." [Art Index]

Sellier, Genevieve. Cornelio, Dawn (translator).

"Masculinity and Politics in New Wave Cinema." Sites: The Journal of Twentieth Century Contemporary French Studies. 4 (2): 471-87. 2000 Fall.

Sorlin, Pierre.

"'Stop the rural exodus': images of the country in French films of the 1950s." (Special Issue: Audiovisual Media in France) Historical Journal of Film, Radio and Television June 1998 v18 n2

"A discussion on the portrayal of agricultural life in France in the 1950s seen through the works of amateur cinematographers and government propaganda films is presented. The 1950s was a period when rural-urban migration was increasing. Despite substantial productivity increases due to modern farming methods, many farmers were still impoverished. The films depicting agricultural life were made to discourage rural migration to the cities and the traditional rural values of agricultural people were presented in a positive light. The positive and often idealistic portrayals of French rural society were, however, filmed at a time when traditional rural life was becoming antiquated." [Expanded Academic Index]

Steeples, Sheila; Allen Katona

"Beyond the New Wave: Four Perspectives on French Cinema." Film Quarterly Vol. 49, No. 4 (Summer, 1996), pp. 2-15

UC users only

Stonehill, B.

"Les auteurs terribles." [interview with J. Gruault]. Film Comment v. 28 (November/December 1992) p. 24-7+

"Frenchman Jean Gruault is among the most respected of modern screenwriters. Gruault has collaborated with such directors as Jacques Rivette, Alain Resnais, Jean-Luc Godard, and Francois Truffaut. He has also written and directed for the theater, television, and French radio, and has won many prizes and awards. In an interview, Gruault discusses his work with Truffaut on Jules and Jim, The Wild Child, Two English Girls, The Story of Adele H., and The Green Room; his personal relationship with Truffaut; and Truffaut's hatred of conventionality." [Art Index]

Turim, Maureen

"French Cinema: The Aesthetic Becomes Political: A History Of Film Criticism in Cahiers du Cinema." The Velvet Light Trap 9 (Summer 1973)p. 13

UC users only

Webster, Robert M.

"A Guide to Recent Developments in French Film and Video." The French Review Vol. 56, No. 1 (Oct., 1982), pp. 179-182

UC users only

Worth, Fabienne.

"Toward alternative film histories: lesbian films, spectators, filmmakers and the French cinematic/cultural apparatus." Quarterly Review of Film and Video Nov 1993 v15 n1 p55(23)

"The lesbian film movement in France has been stunted by notions of art being independent from politics or gender. Consequently, the film industry is reluctant to pander to a specific group, and lesbians are reluctant to seek external justification through the motion picture medium. Some feel that to do so would be to ghettoize their lifestyle on film. However, the influence of lesbian filmmakers from abroad is beginning to prompt a movement inside of France. The French government is also promoting cultural specificity within the film industry." [Expanded Academic Index]

Yacowar, Maurice.

"Film and the French or 'How I Spent My Summer Holiday'." Queen's Quarterly. 107 (4): 573-81. 2000 Winter.

Articles and Books on Individual Directors

Olivier Assayas

Irma Vep

An, Grace.

"Par-Asian Screen Women and Film Identities: The Vampiric in Olivier Assayas's Irma Vep." Sites: The Journal of Twentieth Century Contemporary French Studies, vol. 4, no. 2, pp. 399-415, Fall 2000

Ciecko, Anne T.; Lu, Sheldon H.

"The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh-Self-Reflexivity and the Globalization of the Hong Kong Action Heroine."Post Script: Essays in Film and the Humanities, vol. 19, no. 1, pp. 70-86, Fall 1999

Conley, Tom.

"Revamping Irma: Immodest Reflections on French Cinema and Globalization." Sites: The Journal of Twentieth Century Contemporary French Studies, vol. 4, no. 2, pp. 417-33, Fall 2000

Farmer, B.

"Tracking the vamp: Irma Vep and postclassical cinematic anxiety." Postcolonial Studies: culture, politics, economy 3.1 (April 1, 2000): 43(10).

UC users only

Hampton, Howard.

"Irma Vep. (motion picture)." Artforum International 35.n9 (May 1997): 19(2).

UC users only

Hudson, Dale.

"'Just Play Yourself', 'Maggie Cheung': Irma Vep, Rethinking Transnational Stardom and Unthinking National Cinemas." Screen, vol. 47, no. 2, pp. 213-32, Summer 2006

UC users only

Metz, Walter.

"From Jean-Paul Belmondo to Stan Brakhage: romanticism and intertextuality in Irma Vep and Les Miserables." Film Criticism 27.1 (Fall 2002): 66(19).

UC users only

"Irma Vep, directed by Olivier Assayas, and Les Miserables, directed by Claude Lelouch, rethink the legacy of the French New Wave for the viability of 1990s French cinema. These films make a romantic attempt to transcending the modernist French New Wave through the nontraditional uses of New Wave stars: In Les Miserables, the hero is played by Jean-Paul Belmondo, the star of Jean-Luc Godard's Breathless, while, in Irma Vep, Jean-Pierre Leaud, an actor in the films of New Wave director Francois Truffaut, is an allegorical stand-in for Truffaut. Reacting to a crisis in French cinema at the millennium, revolving around the inability of New Wave's modernist techniques to compete commercially with the Hollywood juggernaut, the films attempt a re-invention through very different styles: Les Miserables uses an emotionally driven Romanticism that constructs Belmondo as a lovable character, whereas Irma Vep employs a postmodern irony to expose the collapse of French cinema under the burden of its New Wave past via the nervous breakdown of the character played by Leaud." [Art Index]

Rojas, Carlos.

"Specular Failure and Spectral Returns in Two Films with Maggie Cheung (and One Without)." Senses of Cinema vol. 12, pp. (no pagination), February 2001

Claude Berri

Alion, Yves

"Entretien avec Claude Berri" Avant Scène Cinéma, vol. 527, pp. 3-7, December 2003

Germinal

Assouline, Pierre

"Du roman au film." Magazine Litteraire, vol. 314, pp. 116-18, Fall 1993

Bertrand, Denis; Ploquin, Françoise.

"'Germinal': Un Livre, un film." Le Francais dans le Monde, vol. 262, pp. 53-61, Winter 1994

Duquesne, Jacques.

"L'Enfer de la mine." Magazine Litteraire, vol. 314, pp. 113-15, Fall 1993

Forbes, Jill.

"Germinal: Keeping It in the Family." In: Film/literature/heritage / edited by Ginette Vincendeau. London : British Film Institute, 2001.

Main Stack PN1995.3.F54 2001

PFA PN1995.3.F44 2001)

Goy-Blanquet, Dominique.

"Germinal." TLS. Times Literary Supplement n4727 (Nov 5, 1993 n4727): 17(1).

Mitterand, Henri.

"Germinal: Un Cri terrible." Magazine Littèraire, vol. 314, pp. 111-13, Fall 1993

Murray, Alison.

"Film as national icon: Claude Berri's Germinal"." The French Review 76.5 (April 2003): 893(12).

"The paper examines Claude Berri's 1993 film adaptation of Emile Zola's novel Germinal as a failed attempt to intervene in the debate about contemporary social injustice and economic inequality. In order to add to the film's authenticity and to argue for its contemporary relevance, Berri shot it in northern France and worked with a considerable number of nonprofessional actors, many of whom were miners or came from a mining background. However, by marketing the Germinal story as a national myth, and by emphasizing its memorial value, Berri in fact emptied Germinal of the subversive social and political power that was carried by the novel and thus undermined the film's potential for social criticism." [http://cat.inist.fr/?aModele=afficheN&cpsidt=14706399]

Reader, Keith.

"Germinal." Sight and Sound 4.n5 (May 1994): 42(2).

Siegel, M.L.

"Germinal: Teaching about Class and Industrial Capitalism through Film." Radical History Review, 2002

UC users only

Jean de Florette

Arey-Binet, Marie-Jo.

"Which Original Works? Tracking Sophocles's Narrative in Jean de Florette and Manon des sources." Literature-Film Quarterly. 28(3):197-202. 2000

Bernstein, Richard.

"France's Pagnol and Pagnol's France bask again in nostalgic warmth." (films based on work of Marcel Pagnol) New York Times v136, sec2 (Sun, Dec 7, 1986):H23(N), H23(L), col 1, 36 col in.

Bernstein, Richard.

"France's savory tale of fate; from a novel by Marcel Pagnol, the director Claude Berri has harvested a rustic tragedy." (movies Jean de Florette and Manon des Sources) New York Times v136, sec2 (Sun, June 21, 1987):H19(N), H19(L), col 1, 49 col in.

Powrie, Phil.

"Configurations of Melodrama: Nostalgia and Hysteria in Jean de Florette and Manon des sources." French Studies: A Quarterly Review ISSUE: vol. 46 no. 3. 1992 July. pp: 296-305.

Manon of the Spring (Manon des sources) (Pagnol)

Arey-Binet, Marie-Jo.

"Which Original Works? Tracking Sophocles's Narrative in Jean de Florette and Manon des sources." Literature-Film Quarterly. 28(3):197-202. 2000

Bazin, Andre.

"The case of Marcel Pagnol." Literature-Film Quarterly v23, n3 (July, 1995):204 (5 pages).

Marcel Pagnol, a French playwright and director, has become paradoxically popular due to the regionalism of his work. Pagnol on account of his relationship with the cinema, called himself the defender of filmed theater, thus making his work more indefensible. This is an example of avoiding certain things in adaptation of theater to the screen. Pagnol's film 'Manon of the Spring' allows critics to clarify the misunderstandings regarding the quality of his films.

Bernstein, Richard.

"France's savory tale of fate; from a novel by Marcel Pagnol, the director Claude Berri has harvested a rustic tragedy." (movies Jean de Florette and Manon des Sources) New York Times v136, sec2 (Sun, June 21, 1987):H19(N), H19(L), col 1, 49 col in.

Powrie, Phil.

"Configurations of Melodrama: Nostalgia and Hysteria in Jean de Florette and Manon des sources." French Studies: A Quarterly Review vol. 46 no. 3. 1992 July. pp: 296-305.

Reinhardt, Olaf.

"Greek and other sources in 'Manon Des Sources.'" (Marcel Pagnol) Classical and Modern Literature: A Quarterly v18, n1 (Fall, 1997):25 (12pages).

Marcel Pagnon, a filmmaker with the Academie Francaise, wrote several novels which he turned into film. Among these novels is 'Manon des sources,' which became a film containing nostalgia for a world that lacks pollution, land degradation, law, and economic rationalism. The film and novel were heavily influenced by Greek ideology, including the notion of hubris.

Luc Besson

La Femme Nikita

Denby, David

"La Femme Nikita." (movie reviews) New York April 22, 1991 v24 n16 p75(1)

Grindstaff, Laura.

"A Pygmalion Tale Retold: Remaking La Femme Nikita." Camera Obscura - 47 (Volume 16, Number 2), 2001, pp. 133-175

UC users only

James, Caryn

"La Femme Nikita." (movie reviews) The New York Times May 5, 1991 v140 s2 pH17(N) pH17(L) col 1 (22 col in)

Kauffmann, Stanley

"La Femme Nikita." (movie reviews) The New Republic May 6, 1991 v204 n18 p26(2) (743 words)

UC users only

MacRory, Pauline

"Excusing the violence of Hollywood women: music in "Nikita" and "Point of No Return"." Screen Vol XL nr 1 (Spring 1999); p 51-65

An examination of "Nikita" and the American remake "Point of no return" looking at differences in the portrayal of the central female figure which, it is suggested, are seen most clearly in the musical scores.

Maslin, Janet

"La Femme Nikita." (movie reviews) The New York Times March 15, 1991 v140 pB9(N) col 1 (15 col in)

Simon, John

"La Femme Nikita." (movie reviews) National Review May 27, 1991 v43 n9 p56(2)

UC users only

Sutton, Paul

"Femme Nikita : violent woman or amenable spectacle?" In: Film studies : women in contemporary world cinema / edited by Alexandra Heidi Karriker. New York : P. Lang, c2002.

Main Stack PN1995.9.W6.F52 2002

Takacs, Stacy.

"Speculations on a New Economy: La Femme Nikita, the Series." Cultural Critique - Number 61, Fall 2005, pp. 148-185

UC users only

Travers, Peter .

"La Femme Nikita." (movie reviews) Rolling Stone March 21, 1991 n600 p86(1)

Vincendeau, Ginette

"Family plots. The fathers and daughters of French cinema." Sight & Sound Vol I nr 11 (Mar 1992); p 14-17

Traces the father-daughter relationship in French cinema, with particular reference to "La belle noiseuse" and "Nikita".

Wiles, Mary M.

"Mapping the Contours of Cyborg Space in the Conspiracy Film: The Feminine Ecology of Luc Besson's La Femme Nikita." Post Identity. 1(1):39-65. 1997 Fall

Robert Bresson

Affron, Mirella Jona.

"Bresson and Pascal: Rhetorical Affinities." Quarterly Review of Film Studies, Spring1985, Vol. 10 Issue 2, p118-134, 17p

Amiel, Vincent.

Le corps au cinema: Keaton, Bresson, Cassavetes / Vincent Amiel. 1re ed. Paris: Presses universitaires de France, c1998. Series title: Perspectives critiques.

UCB Main PN1995.9.B62 A44 1998

Arnaud, Philippe.

Robert Bresson / Philippe Arnaud. Paris: Cahiers du Cinema, c2003.

MAIN: PN1998.3.B755 A8 2003

UCB Main PN1998.A3 B6677 1986 [earlier edition]

Armes, Roy

"The Hand of God: Dramatic Structure in Robert Bresson's 'Un condamné à mort s'est échappé ou Le vent souffle où il veut'" Nottingham French Studies, vol. 32, no. 1, pp. 43-54, Spring 1993

Assayas, O.

"The devil, probably." Film Comment v. 35 no. 4 (July/August 1999) p. 48-51

UC users only

"Part of a special section on the work of director Robert Bresson. When The Devil Probably was released in 1977, its message did not appear to be acceptable because the words, attitudes, and situations it depicted were not those of young people at the time. The movie conveys a feeling of revolt against the society of the time because of the environmental destruction it was causing, coupled with contempt for both the conformist Left and the modernist clergy. In retrospect, it can be seen that the director's work was addressing itself to the universal and portraying characters of a timeless bohemia. Viewed from today's perspective, the characters and dramatic events of the movie are extremely realistic." [Art Index]

Balsan, H.

"Le feu permanent." Cahiers du Cinema no. 543 (February 2000 supp) p. 22-4

"Part of a special section on the late director Robert Bresson's working methods. Humbert Balsan discusses his experiences working with Bresson as an actor in Lancelot du lac (1974) and as an assistant director on Le Diable probablement (1977). He observes that Bresson's directing technique in the former film involved taking something very personal about the actor and making it correspond to the character he had created. He also describes his work on Le Diable probablement, during which Bresson, obsessed by the quality of movement, paid very close attention to the framing of the shots. He notes that Bresson never pretended to create an "oeuvre" but was driven mainly by the intensity of creating, with an artisan's obsession with quality." [Art Index]

Baumbach, Jonathan

"On the Wings of Pain: A Meditation on Three Films by Robert Bresson." Fiction International, vol. 30, pp. 62-66, 1997

La bellezza e lo sguardo : il cinematografo di Robert Bresson

a cura di Luciano De Giusti. Milano : Il castoro, 2000.

MAIN: PN1998.3.B755 B45 2000

Ben-Gad, Shmuel

"Robert Bresson: A Bibliography of Works by and about Him, 1994-1998." Bulletin of Bibliography, vol. 57; 57, no. 1; 3, pp. 31-37, 179-84, March 2000

Ben-Gad, Shmuel

"Robert Bresson: A Bibliography of Works by and about Him, 1981-1993." Bulletin of Bibliography, vol. 51, no. 3, pp. 295-301, September 1994

Ben-Gad, Shmuel

"To see the world profoundly: The films of Robert Bresson." Cross Currents, Summer97, Vol. 47 Issue 2, p230, 6p

UC users only

Bordwell, David

"Sound of silents." Artforum International v. 38 no. 8 (April 2000) p. 123

"Part of a special section featuring tributes to film director Robert Bresson, who died on December 22, 1999. Film historian David Bordwell discusses Bresson's place in the history of cinematic style. For Bresson, close-ups and cutting, techniques valorized by the silent-film avant-garde, constituted real cinema art, cinematography, and writing in and through cinema. His use of these techniques drew him surprisingly close to the Soviet filmmakers of the 1920s. He pressed further, however, applying the Soviets' lesson of abstraction, fragmentation, and assemblage to the audible world" [Art Index]

Bresson, Robert

"Une mise en scene n'est pas un art" [interview with Robert Bresson]. Cahiers du Cinema no. 543 (February 2000 supp) p. 4-9

"A transcript of an interview that took place between the late director Robert Bresson and pupils of the Institut des Hautes Etudes Cinematographiques in December 1955. Bresson discusses several topics, including the difference between films that are simply photographed theater and true cinema, which must be absolutely free of all theatrical expression; cinema as the most appropriate art for expressing character; cinema's potential as a viable way to carry out psychological investigation; the problem of responsibility for the work of art in cinema, where the work is done in a team; and his opinion of Japanese cinema." [Art Index]

Burnett, Colin

"Robert Bresson as a Precursor to the Nouvelle Vague: A Brief Historical Sketch." Offscreen March 31, 2004

UC users only

Burnett, Colin

"Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 33, pp. (no pagination), Fall 2004

Christensen, Jerome C.

"Versions of Adolescence: Robert Bresson's Four Nights of a Dreamer and Dostoyevsky's 'White Nights'." Literature/Film Quarterly, vol. 4, pp. 222-29, 1976

Cooper, Dennis

"First communion." Artforum International v. 38 no. 8 (April 2000) p. 120-2

Part of a special section featuring tributes to film director Robert Bresson, who died on December 22, 1999. Novelist Dennis Cooper assesses the significance of Bresson's work in his own life. On a practical level, Bresson's work constructed Cooper's sensibility as a writer by offering up the notion that an artwork's style could embody a kind of pragmatism that, if sufficiently rigorous and devoted to a sufficiently powerful subject, would eliminate the need within the work for an explicit philosophical or moral standpoint. Cooper feels that Bresson's films are, for him, the greatest works of art ever made.

Couteau, D.

"Son amour du son." Cahiers du Cinema no. 543 (February 2000 supp) p. 21-2

"Part of a special section on the late director Robert Bresson's working methods. Daniel Couteau discusses his experience working with Bresson as a sound-effects engineer on almost all Bresson's films, starting with Un condamne a mort s'est echappe (1956). Over the 30 years of collaboration between the two, Bresson's working methods never changed: Totally disinterested in realism, he never kept the sounds from the filming, rerecording them all with Couteau afterward. For example, he was interested in the sound of steps, and he and Couteau produced thousands of footfall sounds together. Each film was problematic because Bresson was so hard to please, knowing exactly what he was looking for." [Art Index]

Cunneen, Joseph E.

Robert Bresson: a spiritual style in film / Joseph Cunneen. New York: Continuum, 2003.

UCB Main PN1998.3.B755 C86 2003

Cunneen, Joseph E.

"Robert Bresson: a spiritual style in film." Spiritus: A Journal of Christian Spirituality 2.1 (2002) 75-82

UC users only

Curran, Beth Kathryn.

Touching God : the novels of Georges Bernanos in the films of Robert Bresson New York : P. Lang, c2006.

MAIN: PQ2603.E5875 Z6695 2006

Table of contents http://www.loc.gov/catdir/toc/ecip0518/2005025656.html

Dempsey, Michael

"Despair Abounding: The Recent Films of Robert Bresson." Film Quarterly Vol. 34, No. 1 (Autumn, 1980), pp. 2-15

UC users only

Esteve, Michel.

Robert Bresson. Presentation par Michel Esteve; choix de textes, extraits de dcoupages, temoignages et panorama critique, filmographie, bibliographie, documents iconographiques. [Paris] Seghers [1962]. Series title: Cinema d'aujourd'hui 8.

NRLF $D 60 022

Esteve, Michel.

Robert Bresson: la passion du cinematographe / Michel Esteve. Paris: Albatros, c1983. Series title: Collection Ca/cinema;.

UCB Main PN1998.A3 B6521 1983

The Films of Robert Bresson

[by] Amedee Ayfre [and others]. New York] Praeger [1970, c1969]. Series title: Praeger film library.

UCB Main PN1998.A3.B66 F5 1970

UCB Moffitt PN1998.A3 B66 1970

Gorlitz, Sarah Jane.

"Robert Bresson: depth behind simplicity." By: Kinema, Spring 2000, Issue 13, p4-18, 15p

Greene, Marjorie

"Robert Bresson." Film Quarterly, Vol. 13, No. 3. (Spring, 1960), pp. 4-10.

Hanlon, Lindley.

Fragments: Bresson's film style / Lindley Hanlon. Rutherford [N.J.]: Fairleigh Dickinson University Press; London: Associates University Presses, c1986.

UCB Main PN1998.A3 B66241 1986

UCB Moffitt PN1998.A3 B6624 1986

Indiana, G.

"Movie rites." Artforum International v. 38 no. 8 (April 2000) p. 125, 161

"Part of a special section featuring tributes to film director Robert Bresson, who died on December 22, 1999. Novelist Gary Indiana discusses Bresson's work. It appears that the things Bresson's films deal with are anathema to contemporary filmmaking, such as the characters' abject internal revolt against reality and their obdurate unlikability Bresson shocks viewers into reconsidering their whole existence, making them see that what is right in front of them is the infinitely strange, unassimilable horror that it is. He ruins our taste for the mediocre, and his films seem necessary in a way that others simply do not." [Art Index]

Jones, K.

"Bresson." Film Comment v. 35 no. 3 (May/June 1999) p. 36-8

"Part of a special section on the cinema of Robert Bresson. Bresson's aim in cinema is to sound out the profound mysteries that lurk within the spaces between objects, actions, and emotions. The fact that he has been so extraordinarily good at it for so long is due to his profound sense of harmony between images and sounds. No filmmaker has ever made pictures that are at once so concentrated and so expansive, so precise in their mapping of action, and so careful to allow for a resonance beyond the fantasy of nearly everyone lese who has ever worked in the medium. The writer discusses Bresson's body of work." [Art Index]

Jones, Kent

"Bresson." Senses of Cinema

An earlier version of this article first appeared in Film Comment May/June 1999 (Vol.35, No.3) as the introduction to a series of essays on Robert Bresson.

Jones, Kent

"Four nights of a dreamer." Film Comment v. 35 no. 4 (July/August 1999) p. 43-6

"Part of a special section on the work of director Robert Bresson. Although Four Nights of a Dreamer was condemned for being out of step with the times when it was released in 1971, it is now possible to view it as a genuinely great work. Based on a 19th-century short story by Dostoevsky that had previously been filmed by Visconti, the movie tells of a series of encounters between a young man, played by Guillaume des Forets, and a young woman, played by Isabelle Weingarten, in post-1968 France. It depicts the growing consciousness of postadolescence and portrays youth as an abstract, eternal entity. As with other movies dealing with youth in the post-1968 period that did not tie in with the agenda of young people, Four Nights of a Dreamer was deemed invalid at the time. When viewed as a portrait of youth under particular circumstances rather than as a failed, conservative portrayal of the counterculture, however, Four Nights of a Dreamer becomes a work of great beauty." [Art Index]

Joyard, O.

"L'ecran des mots: a propos des Notes sur le cinematographe." Cahiers du Cinema no. 543 (February 2000 supp) p. 25-6

"A discussion of Notes sur le cinematographe, by the late director Robert Bresson. In the work, which was written over the course of 25 years, Bresson addresses several themes using his idea of the "cinematograph"--the enemy of "cinema" or "filmed theater." At times, he writes as if to become lyrical and almost obscure, while elsewhere, he gives precise reasons for the visions that were soon to be transformed into film. He perhaps liked people to observe the way he thought, and in this context, the Notes can be considered a theoretical treatise. Outside this context, however, the work is neither treaty, guide, nor the author's intimate journal: With elements such as short texts, single phrases, quotes, and aphorisms, it is poetry." [Art Index]

Kebadian, Jacques

"Eloge de la sensation." Cahiers du Cinema no. 543 (February 2000 supp) p. 18-20

"Part of a special section on the late director Robert Bresson's working methods. Jacques Kebadian discusses his experience working with Bresson as his assistant on the films Au hasard Balthazar (1966), Mouchette (1967), and Une femme douce (1969). He discusses a range of topics, including how Bresson chose his actors, how he dealt with the unexpected, his filming methods, his method for postproduction and editing, how Bresson taught by allowing people to watch him work, and how the final scene of Mouchette was shot." [Art Index]

Martin, Adrian

"Bressonian." Senses of Cinema, Issue 2, January 2000.

Martin, Adrian

"L'argent." Film Comment v. 35 no. 4 (July/August 1999) p. 51+

"Part of a special section on the work of director Robert Bresson. Bresson's L'Argent portrays a world that is cold, desolate, barren, empty, and mainly populated by people who resemble insensitive, amoral robots. Central to the plot is the idea of money, which inevitably traps all the characters involved in the story. The main character, Yvon (Christian Patey), is turned into a murderer by the mechanisms of capitalist society. The penultimate sequence, in which traces of several murders that Yvon has committed are discovered, encapsulates the deeply disconnected atmosphere of the movie. The movie's portrayal of despair with the modern, mechanized world makes it easy to regard the film as Bresson's most secular and materialist work." [Art Index]

Mekas, Jonas.

"On Bresson and Une femme douce." In: American movie critics : an anthology from the silents until now / edited by Phillip Lopate. New York : Library of America : Distributed to the trade by Penguin Putnam, c2006.

Main Stack PN1995.A448 2006

Moffitt PN1995.A448 2006

PFA PN1995.A72 2006

Milne, T.

"Angels and ministers" [career of Robert Bresson]. Sight & Sound v. 56 (Aut 1987) p. 285-7

Morris, Gary

"All Is Grace: The Films of Robert Bresson." Bright Lights Film Journal, vol. 24, pp. (no pagination), Spring 1999

Mousoulis, Bill

"The Narrative Cracks: Emotion in Robert Bresson." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 2, pp. (no pagination), Winter 2000

Nogueira, R.

"Burel & Bresson." Sight & Sound v. 46 no. 1 (Winter 1976-1977) p. 18-21

Pavelin, Alan

"Robert Bresson." (Great Directors: Critical Database) Senses of Cinema

Pipolo, T.

"Fire and Ice: The Films of Robert Bresson." Cineaste v. 31 no. 2 (Spring 2006) p. 22-7

UC users only

"The writer counters common criticisms of Robert Bresson's cinema. Many regard a Bresson film as a punishing experience due to the alleged "severity" of his style and the bleakness of his narratives. However, it is his inimitable, uncompromising, and increasingly minimal filmic style that offers the context within which to understand his rejection of given conventions--both of professional actors and of the dramatic structure of "scenes" in favor of a neutral series of sequences. Some critics' claim that Bresson had withdrawn the possibility of redemption in his stories undervalues the convulsive and healing powers of art, and how he blended his own art with morality. His choice of subjects and themes, his concern with form, and his insistence on nonprofessional performers and on the nuances of style suggest an autobiographical value for his films that warrants close and extensive scrutiny. However assured and clear his early or later narratives appear, they are never as simple as critical judgment has often made them seem. The writer reviews some DVD releases of Bresson's films." [Art Index]

Price, Brian

"Sontag, Bresson, and the Unfixable." Post Script; Winter2007, Vol. 26 Issue 2, p81-90, 10p

UC users only

The article discusses Susan Sontag's essay "Spiritual Style in the Films of Robert Bresson" and its impact on the history of Bresson criticism. It states the Sontag's essay was an attempt to define the religious character of Bresson's work up to 1962. It explains Sontag's conception of performance in Bresson. It mentions writings on Bresson that have been influenced by Sontag's essay, including the book "Transcendental Style: Ozu, Bresson, Dreyer," by Paul Schrader.

Price, Brian

"The end of transcendence, the mourning of crime: Bresson's hands." Studies in French Cinema; 2002, Vol. 2 Issue 3, p127, 8p

UC users only

Prina, S.

"Devil's advocate." Artforum International v. 38 no. 8 (April 2000) p. 124

Part of a special section featuring tributes to film director Robert Bresson, who died on December 22, 1999. Artist Stephen Prina discusses the work of Bresson. Bresson restores the mechanics of the body so often superseded by language, showing what a body can do, how it turns, raises a hand, opens a door, passes through, and then closes it. He is able to isolate a gesture and then transform it into a materialist metonym for a whole life.

Prokosch, M..

"Bresson's stylistics revisited." Film Quarterly Vol XXV nr 2 (Winter 1971-72); p 30-32.

A critical analysis of Bresson's style.

Provoyeur, Jean-Louis.

Le cinema de Robert Bresson : de l'effet de reel `a l'effet de sublime Paris : Harmattan, c2003.

MAIN: PN1998.3.B755 P76 2003

Ranciere, J.

"La voix de Seraphita." Cahiers du Cinema no. 543 (February 2000 supp) p. 27-9

"The writer discusses the significance of the use of the narrator's voice in the late director Robert Bresson's film Journal d'un cure de campagne. In several of Bresson's works, he set himself the task of transposing a work of literature into film. In cinema, the problem is not to find a visual equivalent for the words of a novel, but to propose an equivalent for the meaning and nonmeaning proper to literature. The writer discusses Journal d'un cure de campagne as an example of this idea, noting that it is mainly in the relationship between the evenness of the disembodied narrator's voice that reads the text and the difference of the embodied voices that modulate it that this dramatic art of the voice is formed--this way of investigating images through words that will always be Bresson's great creation." [Art Index]

Reader, Keith.

Robert Bresson / Keith Reader. Manchester; New York: Manchester University Press; New York: Distributed exclusively in the USA by St. Martin's Press, 2000. Series title: French film directors.

UCB Main PN1998.3.B755 R43 2000

"Robert Bresson 1901-1999." (4 article special section) Artforum International v. 38 no. 8 (April 2000) p. 120-5, 161

A special section features tributes to French film director Robert Bresson, who died on December 22, 1999. Novelists Gary Indiana and Dennis Cooper and artist Stephen Prina consider the importance of Bresson's art in their own lives and work, and film historian David Bordwell discusses Bresson's place in the history of cinematic style.

"Robert Bresson au travail." [7 article special section]. Cahiers du Cinema no. 543 (February 2000 supp) p. 10-24

"Robert Bresson - part I."

Film Comment Vol XXXV nr 3 (May-June 1999); p 36-62.

Brief introduction to the oeuvre of Robert Bresson, followed by essays on seven films written by film critics and film historians. Part 1 of 2.

"Robert Bresson - part II."

Film Comment Vol XXXV nr 4 (July-Aug 1999); p 36-54.

Part two of a dossier dedicated to Robert Bresson includes essays on seven Bresson films.

Robert Bresson

Edited by James Quandt. Toronto: Cinematheque Ontario, c1998. Series title: Cinematheque Ontario monographs; no. 2.

UCB Main PN1998.3.B755 R62 1998

"Robert Bresson, possibly." [interview by P. Schrader]. Film Comment v. 13 (September 1977) p. 26-30

Samuels, Charles Thomas

"Robert Bresson." In: Encountering directors New York, Putnam [1972]

Main Stack PN1998.A2.S16

Moffitt PN1998.A2.S16

Schrader, Paul

Transcendental style in film: Ozu, Bresson, Dreyer. Berkeley, University of California Press, 1972.

UCB Main PN1995 .S417

UCB Moffitt PN1995 .S417

Schrader, Paul

"Robert Bresson, possibly." Film Comment Vol XIII nr 5 (Sept-Oct 1977); p 26-30.

R.B. and P.S. discuss some of the themes of Bresson's work.

Semolue, Jean.

Bresson. Paris, Editions universitaires [1960, c1959]. Series title: Classiques du cinema, 7.

UCB Main PN1993 .C5 v.7

Skoller, Donald S.

""Praxis" as a Cinematic Principle in Films by Robert Bresson." Cinema Journal, Vol. 9, No. 1. (Autumn, 1969), pp. 13-22.

Sloan, Jane

Robert Bresson: a guide to references and resources / Jane Sloan. Boston, Mass.: G.K. Hall, c1983. Series title: A Reference publication in film.

UCB Main PN1998.A3 .B664

UCB Moffitt PN1998.A3 .B664

Sontag, Susan

"Spiritual Style in the Films of Robert Bresson." In: Against interpretation, and other essays / Susan Sontag. New York, Farrar, Straus & Giroux, [1966]

ANTH: PN771 .S623

MAIN: PN771 .S623

MOFF: PN771 .S623

Stadler, Eva M.

"Bresson, Dostoevsky, Bakhtin: Adaptation as Intertextual Dialogue." Quarterly Review of Film and Video Volume 20, Number 1 / January / February / March 2003

UC users only

Tam, Thomas.

"Bresson and the Problem of Mimesis." Kinema, Spring2004 Issue 21, p55-66, 12p

Tomlinson, Doug

"Performance in the films of Robert Bresson : the aesthetics of denial." In: More than a method : trends and traditions in contemporary film performance / edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo. Detroit : Wayne State University Press, c2004.

Main Stack PN1995.9.A26.M67 2004

Table of contents http://www.loc.gov/catdir/toc/ecip0413/2004000534.html

Tomita, Mikiko.

Le cinematographe de Robert Bresson. Tokyo : Tokyo International Foundation for Promotion of Screen Image culture ; L'Institut Franco-Japonais de Tokyo, 1999.

PFA : PN1998.3.B73 T65 1999

Il caso e la necessità: il cinema di Robert Bresson

a cura di Giovanni Spagnoletti, Sergio Toffetti. Torino : Lindau, c1998.

MAIN: PN1998.3.B755 C37 1998

Vaux, Sara Anson.

"Divine skepticism: the films of Robert Bresson.(Special Feature)(Critical Essay)." Christianity and Literature 53.4 (Summer 2004): 521(17).

UC users only

Westerbeck, C. L.

"Robert Bresson's austere vision." Artforum v. 15 (November 1976) p. 52-7

Young, C.

"Conventional--unconventional." Film Quarterly v. 17 no. 1 (Fall 1963) p. 14-30

Zenner, M. C.

"Bresson: Destinies Making Themselves in a Work of Hands." - First Part. Senses of Cinema

Zenner, M. C.

"Bresson: Destinies Making Themselves in a Work of Hands." - Second Part. Senses of Cinema

Au Hasard, Balthazar

Browne, N.

"Narrative point of view: the rhetoric of Au hasard, Balthazar." Film Quarterly v. 31 (Fall 1977) p. 19-31

Campbell, Russell

"Beast Of Burden: Bresson's Balthazar." Velvet Light Trap, 9 (Summer 1973) p. 19

UC users only

Haskell, M.

"Au hasard, Balthazar." Film Comment v. 35 no. 3 (May/June 1999) p. 58+

UC users only

Jacob, G.

"Au hasard Balthazar." Sight & Sound v. 36 no. 1 (Winter 1966-1967) p. 7-9

Roud, R.

"Au hasard Balthazar." Sight & Sound v. 35 no. 3 (Summer 1966) p. 113-15

Les Dames du Bois de Boulogne

Powers, J.

"Les dames du Bois de Boulogne." Film Comment v. 35 no. 3 (May/June 1999) p. 38-41

UC users only

Diary of a Country Priest

Andrew, Dudley.

"Desperation and Meditation: Bresson's Diary of a Country Priest." In: Modern European Filmmakers and the Art of Adaptation / edited by Andrew Horton and Joan Magretta. pp: 20-37. New York: F. Ungar Pub. Co., 1981. Series title: Ungar film library.

UCB Main PN1997.85 .M66; UCB Moffitt PN1997.85 .M66

Bonnaud, Frederic.

"Diary of a Country Priest."(Review) Film Comment v35, n3 (May, 1999):41.

UC users only

"Part of a special section on the cinema of director Robert Bresson. Robert Bresson's Diary of a Country Priest is a film about imprisonment. As he carries out he duties of his ministry, the priest of Ambricourt attempts to act as a link between his parish and the local population. He is finally just another body, however, a dark blot on the landscape, a mere spectator who becomes becomes transparent in the eyes of his flock. The film is, therefore, the story of a failure, of a man who is entirely incapable of leaving an impression on the world." [Art Index]

Browne, N.

"Film form/voice-over: Bresson's The diary of a country priest." Yale French Studies no. 60 (1980) p. 233-40

Cardullo, Bert.

"Diary of a Country Priest." (movie reviews) Hudson Review v42, n3 (Autumn, 1989):474 (4 pages).

"Diary of a Country Priest" (review) Film Culture, n20, 1959, pp: 44-52

"Diary of a Country Priest" (review) Film Journal, n16, August 1960, pp: 79-82

"Diary of a Country Priest" Literature/Film Quarterly, v4,n1, 1976, pp: 39-45

"Diary of a Country Priest" (review) New York Times, April 6, 1954, p. 35

"Diary of a Country Priest" (review) New York Times, May 2, 1954, p. 1

"Diary of a Country Priest" (review) New Yorker, v30, April 17, 1954, pp: 113.

"Diary of a Country Priest" (review) Sight and Sound, v21, Nov.-Dec. 1951, p. 76.

"Diary of a Country Priest" (review) Sight and Sound, v23, July-Sept. 1953, pp: 35-9

"Diary of a Country Priest" (review) Yale French Studies, n60, J1980, pp: 233-40

Feldman, Ellen.

"Bresson's Adaptation of Bernanos' The Diary of a Country Priest." West Virginia University Philological Papers, vol. 26. 1980 Aug. pp: 37-42.

The Films of Robert Bresson

[by] Amedee Ayfre [and others]. pp: 42-66 New York] Praeger [1970, c1969]. Series title: Praeger film library.

UCB Main PN1998.A3.B66 F5 1970

UCB Moffitt PN1998.A3 B66 1970

Fleishman, Avrom

"Written narration: Letter from an unknown woman and Diary of a country priest." In: Narrated films: storytelling situations in cinema history / Avrom Fleishman. p. 149-72 Baltimore: Johns Hopkins University Press, c1992.

Main Stack PN1995.F55 1992

Moffitt PN1995.F551 1992

Fraser, Peter

"Diary of a country priest (Journal d'un cure de campagne, 1950)." In: Images of the passion: the sacramental mode in film / Peter Fraser. Westport, Conn.: Praeger, 1998.

Main Stack PN1995.9.R4.F73 1998

Gerlach, J.

"The diary of a country priest: A total conversion." Literature/Film Quarterly Vol IV nr 1 (Winter 1975-76); p 39-45.

Demonstrates how the film's use of sounds, gestures, movements, and objects establish it as the most successful of all adaptations.

UC users only

Kael, Pauline.

Kiss Kiss Bang Bang. pp: 321-2 [1st ed.]. Boston, Little, Brown [1968].

UCB Main PN1995 .K24

UCB Moffitt PN1995 .K24

Lopate, Phillip

"Films as spiritual life." Film Comment XXVII/6, Nov-Dec 91; p.26-30.

The author explains the appeal of the transcendental style of film, epitomised by Bresson's "Le journal d'un curé de campagne".

Lopate, Phillip

"Diary of a country priest: films as spiritual life." In: Totally, tenderly, tragically: essays and criticism from a lifelong love affair with the movies /... 1st Anchor Books ed. New York: Anchor Books/Doubleday, 1998.

Main Stack PN1995.L627 199

Lyons, Donald

"Priests." Film Comment XXXI/3, May-June 95; p.80-83,85. illus.

Examines the iconography of the priesthood in "I confess", "Le journal d'un curé de campagne" and "Priest".

Polhemus, H.M.

"Matter and spirit in the films of Robert Bresson." Film Heritage IX/3, Spring 74; p.12-16.

Robert Bresson's transcendency of the material world in 'Mouchette' and 'Le journal d'un curé de campagne'.

Reader, Keith.

"'D'ou cela vient-il?' Notes on Three Films by Robert Bresson."French Studies, vol. 40 no. 4. 1986 Oct. pp: 427-442.

UCB users only

Reader, Keith.

"The Sacrament of Writing: Robert Bresson's Le Journal d'un curé de campagne." (1951) In: French film : texts and contexts / edited by Susan Hayward and Ginette Vincendeau. 2nd ed. London ; New York : Routledge, 2000.

Main Stack PN1993.5.F7.F74 2000

PFA PN1993.5.F7.F74 2000

Schrader, Paul

Transcendental Style in Film: Ozu, Bresson, Dreyer. pp: 70-7; 78-80 Berkeley, University of California Press, 1972.

UCB Main PN1995 .S417

UCB Moffitt PN1995 .S417 *c4 copies

Tucker, Thomas Deane

"Adapting patience (waiting): Robert Bresson's Journal d'un curé de campagne (1951)." Studies in French Cinema, 3:1 (2002)

UC users only

Winnington, Richard, 1905-1953.

Film Criticism and Caricatures, 1943-53 / Richard Winnington; selected, with an introd. by Paul Rotha. pp: 154-5. New York: Barnes & Noble Books, 1976, c1975.

UCB Main PN1995 .W591 1976

Lancelot of the Lake

Bartone, Richard C.

"Variations on Arthurian Legend in Lancelot du Lac and Excalibur." In: Popular Arthurian Traditions / edited by Sally K. Slocum. pp: 144-55. Bowling Green, Ohio: Bowling Green State University Popular Press, c1992.

UCB Main PN57.A6 P6 1992

Hughes, Helen

"The Material World: A Comparison between Adalbert Stifter's Historical Novel Witiko and Robert Bresson's Film Lancelot du Lac." In: Travellers in time and space : the Ger