Masculine Singular: French New Wave Cinema
Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema�...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2008]
|
| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 URL des Erstveröffentlichers |
| Zusammenfassung: | Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy-the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist-came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) |
| Beschreibung: | 1 online resource (278 pages) 10 b&w photographs |
| ISBN: | 9780822388975 |
| DOI: | 10.1515/9780822388975 |
Internformat
MARC
| LEADER | 00000nmm a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV047048726 | ||
| 003 | DE-604 | ||
| 005 | 00000000000000.0 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 201207s2008 |||| o||u| ||||||eng d | ||
| 020 | |a 9780822388975 |9 978-0-8223-8897-5 | ||
| 024 | 7 | |a 10.1515/9780822388975 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780822388975 | ||
| 035 | |a (OCoLC)1226700749 | ||
| 035 | |a (DE-599)BVBBV047048726 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-1046 |a DE-Aug4 |a DE-859 |a DE-860 |a DE-473 |a DE-739 |a DE-1043 |a DE-858 | ||
| 082 | 0 | |a 791.430944 |2 22 | |
| 100 | 1 | |a Sellier, Geneviève |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Masculine Singular |b French New Wave Cinema |c Geneviève Sellier |
| 264 | 1 | |a Durham |b Duke University Press |c [2008] | |
| 264 | 4 | |c © 2008 | |
| 300 | |a 1 online resource (278 pages) |b 10 b&w photographs | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) | ||
| 520 | |a Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy-the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist-came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity | ||
| 546 | |a In English | ||
| 650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism |2 bisacsh | |
| 650 | 4 | |a Motion pictures |x History |x France | |
| 650 | 4 | |a Motion pictures |z France |x History | |
| 650 | 4 | |a New wave films |x History and criticism |x France | |
| 650 | 4 | |a New wave films |z France |x History and criticism | |
| 700 | 1 | |a Ross, Kristin |e Sonstige |4 oth | |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780822388975 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 999 | |a oai:aleph.bib-bvb.de:BVB01-032456122 | ||
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FAB01 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FAW01 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FHA01 |p ZDB-23-DGG |q FHA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FKE01 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FLA01 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l UBG01 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l UPA01 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822388975 |l FCO01 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1804182034259640320 |
|---|---|
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Sellier, Geneviève |
| author_facet | Sellier, Geneviève |
| author_role | aut |
| author_sort | Sellier, Geneviève |
| author_variant | g s gs |
| building | Verbundindex |
| bvnumber | BV047048726 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780822388975 (OCoLC)1226700749 (DE-599)BVBBV047048726 |
| dewey-full | 791.430944 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.430944 |
| dewey-search | 791.430944 |
| dewey-sort | 3791.430944 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| discipline_str_mv | Allgemeines |
| doi_str_mv | 10.1515/9780822388975 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>04226nmm a2200529zc 4500</leader><controlfield tag="001">BV047048726</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">00000000000000.0</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">201207s2008 |||| o||u| ||||||eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780822388975</subfield><subfield code="9">978-0-8223-8897-5</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780822388975</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780822388975</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1226700749</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047048726</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1046</subfield><subfield code="a">DE-Aug4</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield><subfield code="a">DE-1043</subfield><subfield code="a">DE-858</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">791.430944</subfield><subfield code="2">22</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Sellier, Geneviève</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Masculine Singular</subfield><subfield code="b">French New Wave Cinema</subfield><subfield code="c">Geneviève Sellier</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Durham</subfield><subfield code="b">Duke University Press</subfield><subfield code="c">[2008]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2008</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (278 pages)</subfield><subfield code="b">10 b&w photographs</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy-the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist-came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">PERFORMING ARTS / Film & Video / History & Criticism</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield><subfield code="x">History</subfield><subfield code="x">France</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Motion pictures</subfield><subfield code="z">France</subfield><subfield code="x">History</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">New wave films</subfield><subfield code="x">History and criticism</subfield><subfield code="x">France</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">New wave films</subfield><subfield code="z">France</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Ross, Kristin</subfield><subfield code="e">Sonstige</subfield><subfield code="4">oth</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032456122</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FAB01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FAW01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FHA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FHA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FKE01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FLA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">UBG01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">UPA01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822388975</subfield><subfield code="l">FCO01</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV047048726 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T16:07:29Z |
| indexdate | 2024-07-10T09:01:08Z |
| institution | BVB |
| isbn | 9780822388975 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032456122 |
| oclc_num | 1226700749 |
| open_access_boolean | |
| owner | DE-1046 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 DE-1043 DE-858 |
| owner_facet | DE-1046 DE-Aug4 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 DE-1043 DE-858 |
| physical | 1 online resource (278 pages) 10 b&w photographs |
| psigel | ZDB-23-DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FHA_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG FCO_PDA_DGG |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Duke University Press |
| record_format | marc |
| spelling | Sellier, Geneviève Verfasser aut Masculine Singular French New Wave Cinema Geneviève Sellier Durham Duke University Press [2008] © 2008 1 online resource (278 pages) 10 b&w photographs txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Nov 2020) Masculine Singular is an original interpretation of French New Wave cinema by one of France's leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema's formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they "wrote" in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers' focus on gender relations, Sellier reflects on the careers of New Wave's iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier's thorough exploration of early New Wave cinema culminates in her contention that its principal legacy-the triumph of a certain kind of cinephilic discourse and of an "auteur theory" recognizing the director as artist-came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema's modernity was accompanied by an association of creativity with masculinity In English PERFORMING ARTS / Film & Video / History & Criticism bisacsh Motion pictures History France Motion pictures France History New wave films History and criticism France New wave films France History and criticism Ross, Kristin Sonstige oth https://doi.org/10.1515/9780822388975 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Sellier, Geneviève Masculine Singular French New Wave Cinema PERFORMING ARTS / Film & Video / History & Criticism bisacsh Motion pictures History France Motion pictures France History New wave films History and criticism France New wave films France History and criticism |
| title | Masculine Singular French New Wave Cinema |
| title_auth | Masculine Singular French New Wave Cinema |
| title_exact_search | Masculine Singular French New Wave Cinema |
| title_exact_search_txtP | Masculine Singular French New Wave Cinema |
| title_full | Masculine Singular French New Wave Cinema Geneviève Sellier |
| title_fullStr | Masculine Singular French New Wave Cinema Geneviève Sellier |
| title_full_unstemmed | Masculine Singular French New Wave Cinema Geneviève Sellier |
| title_short | Masculine Singular |
| title_sort | masculine singular french new wave cinema |
| title_sub | French New Wave Cinema |
| topic | PERFORMING ARTS / Film & Video / History & Criticism bisacsh Motion pictures History France Motion pictures France History New wave films History and criticism France New wave films France History and criticism |
| topic_facet | PERFORMING ARTS / Film & Video / History & Criticism Motion pictures History France Motion pictures France History New wave films History and criticism France New wave films France History and criticism |
| url | https://doi.org/10.1515/9780822388975 |
| work_keys_str_mv | AT selliergenevieve masculinesingularfrenchnewwavecinema AT rosskristin masculinesingularfrenchnewwavecinema |