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Multiculturalweek<br />On Monday 25 January, the university began in the activity of multicultural week, following Tuesday was held in the auditorium the presentation of French cinema, this will be the theme to be developed below.<br />
Cinema of France<br />The Cinema of France comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad.<br />France is the birthplace of cinema and was responsible for many of its early significant contributions.[ Several important cinematic movements, including the Nouvelle Vague, began in the country. It is noted for having a particularly strong film industry, due in part to a certain level of protection afforded it by the French Gouverment. It is able to stand up well to competition when compared with the cinema industries of other countries. Characteristics of French cinema include slower plotlines, strong character development, and a deviance from happy or conclusive endings.<br />Apart from its strong indigenous film tradition, France has also been a gathering spot for artists from across Europe and the world. For this reason, French cinema is sometimes intertwined with the cinema of foreign nations. Directors from nations such as Poland (Roman Polanski, Krzysztof Kieslowski, and AndrzejŻuławski), Argentina (Gaspar Noe and EdgardoCozarinsky), Russia (AlexandreAlexeieff, AnatoleLitvak)and Georgia (Gela Babluani, OtarIosseliani) are as prominent in the ranks of French cinema as native Frenchmen. French directors have been important in the development of cinema in other countries, such as Luc Besson in the United States.<br />http://en.wikipedia.org/wiki/Cinema_of_France<br />
Cinema and Sensation: Contemporary French Film and Cinematic<br />Corporeality<br />One of the most fascinating phenomena in contemporary art cinema is the re-emergence of a corporeal cinema, that is, of filmmaking practices (and, by extension, of theoretical approaches) that give precedence to cinema as the medium of the senses. This article thus explores trends of filmmaking and film theorizing where the experience of cinema is conceived as a unique combination of sensation and thought, of affect and reflection. It argues that, reconnecting with a certain tradition of French film theory in particular, contemporary French cinema offers a point in case: a large collection of recently released French films typify this willingness to explore cinema's unique capacity to move us both viscerally and intellectually. In turn, the article suggests that such films, envisaged as forms of embodied thought, offer alternative ways, beyond that of mere appropriation and consumption, of envisaging the relationship of subjects to art, and, by extension, of subjects to objective world. [ABSTRACT FROM AUTHOR] Copyright of Paragraph is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)<br />http://web.ebscohost.com/ehost/detail?vid=4&hid=8&sid=1cda031e-cbda-4769-895b-960e03968782@sessionmgr14&bdata=Jmxhbmc9ZXMmc2l0ZT1laG9zdC1saXZl#db=afh&AN=34452627<br />
Journal by:<br /> Elisabeth Lequeret. Translated by Sarah Françoise<br />Franconomics French cinema goes to Market <br />What do Annemarie Jacir´sSalt of, this Sea (Palestine), HoratiuMalaele'sSilent Wedding (Romania)., and EranRiklis'sLemon Tree (Israel) have in common? Ail were produced or co-produced with French money. Is this proof that the reach of contemporary French cinema extends far beyond the country's borders? In January, Unifrance announced the international box-office figiiiL's for French films with a triumphant fanfare: 16 percent up from 2007, with a record total gross of 80 million admissions. The top three films? Balrylon A.D., Asterix at the Olympic Games, and Taken. <br />One of the winners at last year's Academy Awards, Marion "La Môme" Cotillard, has just finished acting alongside Johnny Depp in Michael Mann's Public Enemies, in English, no less. Meanwhile, at the Berlin Film Festival.. RachidBouchareb (whose Days of Glory came away from the Oscars empty-handed) has just premiered his new film, London River, a Franco-Algerian-British co-production centered around the 2005 London terror attacks. He's now starting work on a biopic about Black Panther activist Angela Davis.<br />
Against all expectations, even Welcome to the Sticks seduced audiences worldwide, avoiding the usual fate of high-calorie Frenchified comedies. The success of Sticks and La Vie en rose strikes two distinct but equally resonant chords. On the one hand, A whole sector of our mainstreamcinemasignedup for a collective project to (re)conquerFrenchhistory. Sticks conveys a folksy and populist image of the French, and that quality has even convinced Will Smith to buy the rights for a California-based remake. On the other hand. La Vie en rose, quiteasidefromEdith Piafs undeniable global celebrity, was prestigious, as far as the French film industry was concerned, for two reasons; Cotillard's Oscar-bait performance and an HD picture-postcard vision of France, pleasantly basking in postwar nostalgia, complete withmustachioedimpresarios [Gérard Depardieuonautopilot) and pre-May '68 pavingstones. But folksiness and nostalgia have been two sides of the same coin ever since a<br />whole sector of our mainstream cinema signed up for a collective project to (re)conquer French history. So who do you put in front of the camera next? How about a comic singer whose celebrity so goes to his head that he runs for president in 1981: Coluche, directed by Antoine de Caunes.<br />http://web.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=5&hid=8&sid=1cda031e-cbda-4769-895b-960e03968782@sessionmgr14<br />