![]() ContentsĬhapter 2: Pierrot le fou and Post-New Wave French CinemaĬhapter 3: National Cinemas and the Body PoliticĬhapter 4: Unfamiliar Places: ‘Heterospection’ and Recent French Films on ChildrenĬhapter 5: The Circular Ruins? Frontiers, Exile and the Nation in Renoir’s Le Crime de Monsieur LangeĬhapter 6: Beurz n the Hood: The Articulation of Beur and French Identities in Le Thé au harem d’Archimède and HexagoneĬhapter 7: Community, Nostalgia and the Spectacle of Masculinity: Jean Gabin Ginette VincendeauĬhapter 8: Asserting Text, Context and Intertext: Jill Forbes and French Film StudiesĬhapter 9: Jill Forbes: The Continued ConversationĬhapter 10: Political Threads and Material Memory: Mayo’s Wardrobe for Casque d’or (1952)Ĭhapter 11: ‘Une vraie famille Benetton’: Maternal Metaphors of Nation in Il y a longtemps que je t’aime (2008) – a Response to Susan HaywardĬhapter 12: Phil Powrie: French Film Studies as a Heterotopic FieldĬhapter 13: Men in Unfamiliar Places: A Response to Phil PowrieĬhapter 14: To Elicit and Elude: The Film Writing of Keith ReaderĬhapter 15: Sexuality (and Resnais): A Response to Keith ReaderĬhapter 16: Of Spaces and Difference in La Graine et le mulet (2007): A Dialogue with Carrie TarrĬhapter 17: Cinema, the Second Sex and Studies of French Women’s Films in the 2000sĬhapter 18: The Bafflement of Gabin and Raimu and the Breathlessness of Belmondo: A Dialogue with the Work of Ginette VincendeauĬhapter 21: Censoring French ‘Cinéma de qualité’ – Bel-Ami (1954/1957)Ĭhapter 22: Raymond Bernard’s Les Misérables (1934)Ĭhapter 23: Jewish-Arab Relations in French, Franco-Maghrebi and Maghrebi CinemasĬhapter 24: The Frenchness of French Cinema: The Language of National Identity, from the Regional to the Trans-nationalĬhapter 25: Four Decades of Teaching and Research in French Cinema Printed and bound by Gutenberg Press, Malta. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.Ī catalogue record for this book is available from the British Library. Intellect, The University of Chicago Press, 1427 E. New York: Hill and Wang, 1964.Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK Cinema Eye, Cinema Ear: Some Key Film-Makers of the Sixties. “Creators on Creating.” Saturday Review 7 (November 1980): 40–44. Monaco, The New Wave: Truffaut, Godard, Chabrol, Rohmer, Rivette, New York: Oxford UP, 1976. “It really makes you sick!: Jean-Luc Godard’s A Bout de Souffle (1959).” French Film: Texts and Contexts. “Woody Allen Interview: ‘At last I’m a foreign filmmaker.’ “ The Telegraph. Caroline Aaron, Kirstie Allen, and Woody Allen. London: Faber and Faber, 2004.ĭeconstructing Harry. ![]() Revolution!: The Explosion of World Cinema in the 60s. “Woody Allen: ‘All My Films Have a Connection with Magic.’ “ Positif 444 (February 1998): 11–16. 58–62.Ĭiment, Michel, and Garbarz, Franck. “Allen Goes Back to the Woody of Yesteryears.” Philadelphia Inquirer (15 February 1981). Woody Allen on Woody Allen: In Conversation with Stig Björkman. ![]() “French Film.” French Film: Texts and Contexts. This process is experimental and the keywords may be updated as the learning algorithm improves.Īrmes, Roy. These keywords were added by machine and not by the authors. This film not only explores referentiality textually, in questioning its importance for the protagonist’s very existence, but also, as we have come to expect with Allen, the film references the director’s previous works, and pays homage to a number of other eminent directors. Allen’s film invariably makes reference to both other cinematic works and indeed his own, and it is through this referentiality that Allen constructs meaning and builds the content of his profound and at times philosophical film. This work will consider the film through the critical lens of referentiality, understanding that Allen’s work does not only use intertextuality and systematic reference to other works, genres, and forms as an anchor point for his narrative within Deconstructing Harry, but that this approach is also evident throughout his cinematic technique and his employment of the formal elements of film. ![]() This film powerfully exudes the sense of referentiality that habitually forms an integral portion of Allen’s work, with the referentiality here being a fundamental component of both the narrative and the formal filmmaking process. Woody Allen’s Deconstructing Harry (1997) is a fascinating, frenetic, and fruitful pastiche of numerous telling flights of fancy, which combine to represent the bizarre tapestry that is the life of neurotic writer Harry Block.
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