Je T’Aime. Moi Non Plus : : Franco-British Cinematic Relations / / ed. by Catherine Wheatley, Lucy Mazdon.

• Superior document: Title is part of eBook package: De Gruyter Berghahn Books Complete eBook-Package 2000-2013
• MitwirkendeR: Biltereyst, Daniel,; Christie, Ian,; Driskell, Jonathan,; Johnston, Cristina,; Mazdon, Lucy,; Morrissey, Jim,; Murphy, Robert,; Nowell-Smith, Geoffrey,; O’Brien, Charles,; Porter, Vincent,; Renaud, Cécile,; Selfe, Melanie,; Smith, Justin,; Stigsdotter, Ingrid,; Street, Sarah,; Vincendeau, Ginette,; Wheatley, Catherine,; Wimmer, Leila,
• HerausgeberIn: Mazdon, Lucy,; Wheatley, Catherine,
• Place / Publishing House: New York; , Oxford : : Berghahn Books, , [2010]; ©2010
• Year of Publication: 2010
• Language: English
• Physical Description: 1 online resource (300 p.)
• Other title: Frontmatter --; Contents --; List of Illustrations --; List of Tables --; Acknowledgements --; Introduction. Franco-British Cinematic Relations: An Overview --; Part I: Industry and Institutions --; 1 The Exhibition, Distribution and Reception of French Films in Great Britain during the 1930s --; 2 The ‘Cinematization’ of Sound Cinema in Britain and the Dubbing into French of Hitchcock’sWaltzes from Vienna (1934) --; 3 Une Entente Cordiale? – A Brief History of the Anglo-French Film Coproduction Agreement, 1965–1979 --; 4 Channel-crossing Festivals: The Cases of the French Film Festival U.K. and Dinard’s Festival du Film Britannique --; 5 The Language of Love? How the French Sold Lady Chatterley’s Lover (Back) to British Audiences --; Part II: Reception and Perceptions --; 6 Disciplining the Nouvelle Vague: Censoring A Bout de Souffle and Other Early French New Wave Films (1956–1962) --; 7 The Reception of the Nouvelle Vague in Britain --; 8 ‘New Waves, New Publics?’: The Nouvelle Vague, French Stars and British Cinema --; 9 Mirror Image: French Reflections of British Cinema --; 10 ‘Incredibly French’?: Nation as an Interpretative Context for Extreme Cinema --; 11 British Audiences and 1990s French New Realism: La Vie Rêvée des Anges as Cinematic Slum Tourism --; Part III: Personnel and Performance --; 12 ‘The Meaning of That French Word Chic’: Annabella’s Franco-British Stardom --; 13 ‘Those Frenchies Seek Him Everywhere’: David Niven in Franco-British Cinematic Relations --; 14 Truffaut in London --; 15 Jane Birkin: From English Rose to French Icon --; 16 The French Resistance Through British Eyes: From ’Allo ’Allo! to Charlotte Gray --; 17 ‘In the Ghetto’: Space, Race and Marginalization in French and British ‘Urban’ Films La Haine and Bullet Boy --; Notes on Contributors --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781845458553; 9783110998283
• DOI: 10.1515/9781845458553
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Catherine Wheatley, Lucy Mazdon.

A series of limiting definitions have tended to delineate the Franco-British cinematic relationship. As this collection of essays reveals, there is much more to it than simple oppositions between British critical esteem for the films of France and French dismissal of ‘le cinéma British’, or the success of Ken Loach et al. at the French box office and the relative dearth of French movies on British screens. In fact, there has long been a rich and productive dialogue between these two cultures in which both their clear differences and their shared concerns have played a vital role. This book provides an overview of the history of these relations from the early days of sound cinema to the present day. The chapters, written by leading experts in the history of French, British and European cinema, provide insights into relations between French and British cinematic cultures at the level of production, exhibition and distribution, reception, representation and personnel. The book features a diverse range of studies, including: the exhibition of French cinema in Britain in the 1930s, contemporary ‘extreme’ French cinema, stars such as Annabella, David Niven and Jane Birkin and the French Resistance on British screens.