LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Selfe, M. (2013)
Publisher: Routledge
Languages: English
Types: Article
Subjects:
This paper examines the ways in which British specialist film culture anticipated and received the resumed supply of French films at the end of the Second World War. It finds that in serious film journalism and within the rapidly expanding film society movement, new French cinema was the focus of at least as much British attention as Italian neo-realism – the European cinema more famously associated with the era. The paper posits that a number of factors, including anti-Americanism, combined to position the delayed wartime and immediate post-war French releases as a site of impossible expectations and subsequent interpretative difficulty for British cinephiles. In particular, through a case study of the local mediation of French cinema in the English city of Nottingham, this paper considers the role of published criticism for setting the local viewing frame within the provincial film society movement. By tracing the tensions surrounding the circulation of film prints, information, and opinion relating to these prestigious cultural imports, it becomes possible to gain greater insight into both the range of nationally specific meanings attributed to the imported films and the geographic and cultural inequalities at work within the film culture of the country of reception.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • Acland, Charles. 1994. National dreams, international encounters: The formation of Canadian film culture in the 1930s. Canadian Journal of Film Studies 3, no 1: Ackland, Rodney. 1946. New London Film Society: Annual Report, year ended 30 June (author's own collection).
    • Ackland, Rodney, and Elspeth Grant. 1954. The celluloid mistress; or, the custard pie of Dr. Caligari. London: Allan Wingate.
    • Andrew, Dudley. 2010. Time zones and jetlag: The flows and phases of world cinema. In World cinemas, transnational perspectives, ed. Natasa Durovicova and Kathleen Newman, 59-89. London and New York: Routledge.
    • Allen, Robert C, and Douglas Gomery. 1985. Film history: Theory and practice. 1st ed. McGraw-Hill Higher Education.
    • Barr, Mischa. 2009. Sex, art and sophistication: the meanings of 'Continental' cinema. Journal of Australian Studies 33, no 1: 1-18.
    • Betz, Mark. 2003. Art, exploitation, underground. In Defining cult movies: The cultural politics of oppositional taste, ed. Mark Jancovich, 202-222. Manchester: University of Manchester Press.
    • Birmingham Film Society. 1948. Flashback: A hundred shows of the Birmingham Film Society 1931-1948. Birmingham: Journal Printing Office.
    • Bordwell, David. 2002. The art cinema as a mode of film practice. In The European cinema reader, Catherine Fowler, 94-102. London: Routledge. Originally published in 1979. Film Criticism 4, no 1: 56-64.
    • Bolas, Terry. 2009. Screen education: From film appreciation to media studies. Bristol: Intellect Books.
    • Committee of the Federation of Film Societies 1961. Forming and running a film society, ed. J. R. Cottrill, rev. by Margaret Hancock, 3rd edn. Leicester: Federation of Film Societies.
    • D.P. 1973. Olwen Vaughan: Film society pioneer. Obituaries, The Times, August 23.
    • Drazin, Charles. 1999. Olwen Vaughan and the French Club. London Magazine March, 67-76.
    • Dupin, Christophe. 2006. The postwar transformation of the British Film Institute. Screen 47, no 4: 443-451.
    • Dyer, Ernest. 1938. What do they like? Sight and Sound 7, no 26: 78-79.
    • Ellis, John. 1996. The quality film adventure: British critics and the cinema 1942- 1948. Revised edn, in Dissolving views: Key writings on British cinema, ed. Andrew Higson, 66-93. London: Cassell.
    • Fowler, Roy. 1946. The film in France. London: Pendulum.
    • Fuller-Seeley, Kathryn, ed. 2008. Hollywood in the neighborhood: Historical case studies of local moviegoing. Berkeley, Los Angeles and London: University of California Press.
    • Gomery, Douglas. 1992. Shared pleasures: A history of movie presentation in the United States. Madison, Wis. and London: University of Wisconsin Press.
    • Grieveson, Lee, and Haidee Wasson, eds. 2008. Inventing film studies. Durham and London: Duke University Press.
    • Hackett, Hazel. 1946a. The French cinema during the Occupation. Sight and Sound 15, no 57: 1-3.
    • Hagener, Malte. 2007. Moving forward, looking back: The European avant-garde and the invention of film culture 1919-1939. Amsterdam: Amsterdam University Press.
    • Harris, Elizabeth. 1948. The function of the specialized cinema. Penguin Film Review, no 7: 80-86.
    • Hogenkamp, Bert. 1986. Deadly Parallels: Film and the Left in Britain 1929-1939. London: Lawrence and Wishart.
    • Jancovich, Mark, with Lucy Faire and Sarah Stubbings. 2003. The Place of the Audience: Cultural Geographies of Film Consumption. London: British Film Institute.
    • Kracauer, Siegfried. 1947. From Caligari to Hitler: A psychological history of the German film. Princeton, N.J: Princeton University Press.
    • MacDonald, Richard. The vanguard of film appreciation: the film society movement and film culture, 1945-1965. In The British Film Institute: The government and film culture 1933-2007, ed. Geoffrey Nowell-Smith and Christophe Dupin, 87-101. Manchester: Manchester University Press.
    • Mazdon, Lucy. 2010. Vulgar, nasty and French: French cinema in Britain in the 1950s. Journal of British Cinema and Television 7, no 3: 421-438.
    • Munro, Emily. 2006. The language problem in European cinema: Discourses on “Foreign-Language Films” in criticism, theory and practice. PhD diss., University of Glasgow.
    • Nottingham and District Film Society. 1945-1959. Programme Notes and Ephemera. Held at Nottingham Local Studies Collection, Nottingham City Library. See in text citations for specific programme dates.
    • Nottingham and District Film Society. 1945-1959. Administrative Records. Held at Nottinghamshire County Archive. File numbers M12, 334-94. See in text citations for specific dates, details and file references.
    • Novik, William. 1947. Four years in a bottle: A critical study of French film production under the Occupation. Penguin Film Review, no 2: 45-53.
    • Polan, Dana B. 2007. Scenes of instruction: The beginnings of the U.S. study of film. Berkeley, Los Angeles and London: University of California Press.
    • Porter, Vincent. 2010. The exhibition, distribution and reception of French films in Great Britain during the 1930s. In Je t'aime… moi non plus: Franco-British cinematic relations, ed. Lucy Mazdon and Catherine Wheatley, 19-36. New York and Oxford: Berghahn.
    • Rose, Felix. 1937. The Cinema in France 1936. Sight and Sound, 6, no 22: 71-74.
    • Selfe, Melanie. 2007. Doing 'the work of the NFT in Nottingham' or How to use the BFI to beat the Communist threat in your local film society. Journal of British Selfe, Melanie. 2012. The view from outside London: the centre and the regions 1960-1980. In The British Film Institute: The government and film culture 1933-2007, ed. Geoffrey Nowell-Smith and Christophe Dupin, 116-132. Manchester: Manchester University Press.
    • Sexton, Jamie. 2008. Alternative film culture in inter-war Britain. Exeter: University of Exeter Press.
    • Sight and Sound. 1950. Film Society Notes. 19, no 6: 263.
    • Staiger, Janet. 1992. Interpreting films: Studies in the historical reception of American Cinema. New Jersey: Princeton University Press.
    • Street, Sarah. 2002. Transatlantic Crossings: British Feature Films in the USA. New York and London: Continuum.
    • Vedrès, Nicole. 1946. The French cinema since 1944. Penguin Film Review, no 1: 74- 79.
    • Waller, Gregory A. 1995. Main Street amusements: Movies and commercial entertainment in a southern city, 1896-1930. Washington: Smithsonian Books.
    • Wasson, Haidee. 2005. Museum movies: the museum of modern art and the birth of art cinema. Berkeley, Los Angeles and London: University of California Press.
    • Wilinsky, Barbara. 2001. Sure seaters: The emergence of art house cinema. Minneapolis: University of Minnesota Press.
    • Wimmer, Leila. 2009. Cross-channel perspectives: The French reception of British cinema. Oxford, Bern and New York: Peter Berg.
  • No related research data.
  • No similar publications.

Share - Bookmark

Download from

Cite this article