Bibliography for FILM 304 | Victoria University Of Wellington

[1]
J. Tati et al., ‘Mon oncle’, vol. 111. Criterion Collection, [United States], 2001.

[2]
Introduction ‘Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture’. [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live

[3]
S. Hayward, French national cinema ‘Introduction: Defining the “national” of a country’s cinematographic production’, 2nd ed. Abingdon, Oxon [England]: Routledge, 2005.

[4]
‘Hensman, Ravi. “Oracles of Suburbia: French Cinema and Portrayals of Paris Banlieues, 1958–1968”.’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/09639489.2013.802681?needAccess=true

[5]
Spohrer, Jennifer1, ‘Consumption and the Construction of Community in Jacques Tati’s Mon Oncle.’, disClosure, no. 19, pp. 61–72, [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=a2h&AN=73795073&site=ehost-live

[6]
J. Tati, J. Tati, and Madman Entertainment, ‘Jour de Fete’. Madman [distributor], Australia, 2004.

[7]
J. Tati, B. Maurice, Specta Films, Potential Films, Madman Cinema, and AV Channel (Firm), ‘Playtime’. Madman Cinema/Potential Films/The AV Channel [distributor], [Australia], 2004.

[8]
J. Tati et al., ‘Les vacances de Monsieur Hulot: M. Hulot’s holiday’, vol. 110. Criterion Collection, [Irvington, NY], 2001.

[9]
J. Tati et al., ‘Trafic’, vol. 439. Criterion Collection, [New York?], 2008.

[10]
A. Dauman et al., ‘Chronique d’un été (Paris 1960) =: Chronicle of a Summer (Paris 1960)’, vol. 648. Criterion Collection, [New York], 2013.

[11]
Chapter 1: 1-70 ‘La Belle Americaine’ ‘Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture’. [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live

[12]
C. Marker et al., ‘Le joli mai’. Icarus Films, Brooklyn, NY, 2013.

[13]
J. Rouch, P. Braunberger, Ronin Films, and Les Films de la Pleiade, ‘Petit a petit’. Ronin Films [distributor], Mitchell, ACT, 2012.

[14]
J. Rouch, P. Braunberger, Centre national de la recherche scientifique (France), and Institut française d’Afrique noire, ‘Les Maitres fous’. Interama Video Classics, [New York, N.Y.?], 1986.

[15]
S. Ungar, ‘In the Thick of Things: Rouch and Morin’s Chronique d’un été Reconsidered’, French Cultural Studies, vol. 14, no. 1, pp. 5–22, Feb. 2003, doi: 10.1177/0097155803014001001.

[16]
C. Marker et al., ‘Le joli mai’. Icarus Films, Brooklyn, NY, 2013.

[17]
A. Varda, C. Marchand, A. Bourseiller, J. Rabier, and M. Legrand, ‘Cleo from 5 to 7’. Artificial Eye, [S.l.], 2010.

[18]
Ross, Kristin. ‘Hygiene and Modernization’. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 71-122. [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live

[19]
‘Forbes, Jill. “Gender and Space in Cléo de 5 à 7”. Studies in French Cinema, 2:2 (2002), 83-89’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfci.2.2.83?needAccess=true

[20]
‘Rollet, Brigitte. “Paris Nous Appartient: Flânerie in Paris and Film”. Film Quarterly 68.3 (2008): 46-51’. [Online]. Available: https://www.jstor.org/stable/pdf/10.1525/fq.2008.61.3.46.pdf

[21]
‘Ezra, Elisabeth. “Cléo’s Masks: Regimes of Objectification in the French New Wave”. Yale French Studies,118/119. Noeuds de mémoire: Multidirectional Memory in Postwar French and Francophone Culture (2010): 177-190’. [Online]. Available: https://www.jstor.org/stable/pdf/41337086.pdf

[22]
‘Morissey, Jim. “Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin d’Amélie Poulain”. Studies in French Cinema 8:2 (2014): 99-110’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfc.8.2.99_1?needAccess=true

[23]
‘Virtue, Nancy.” Jacques Demy’s Les Parapluies de Cherbourg: A national allegory of the French-Algerian war”. Studies in French Cinema, 13:2 (2013): 127-140’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfc.13.2.127_1?needAccess=true

[24]
J. S. Williams, Space and being in contemporary French cinema. Manchester: Manchester University Press, 2013. [Online]. Available: http://www.jstor.org/stable/10.2307/j.ctt18mvmfc

[25]
‘"The Mise-en-Scène of Modernity: The French New Wave, Paris, and the Global 1960s”’, [Online]. Available: https://www.oxfordscholarship.com/view/10.1093/acprof:oso/9780199858286.001.0001/acprof-9780199858286-chapter-02?print=pdf

[26]
J. Tweedie, ‘Walking in the City’, in The Age of New Waves, Oxford University Press, 2013, pp. 83–128. doi: 10.1093/acprof:oso/9780199858286.003.0003.

[27]
Anne E. Duggan, Queer Enchantments : Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy. Wayne State University Press, 2000. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416608&query=

[28]
C. Ossard et al., ‘Paris, je t’aime’. Madman Entertainment, [Australia], 2007.

[29]
J. Demy et al., ‘Les parapluies de Cherbourg: The umbrellas of Cherbourg’. Koch Lorber Films, [United States], 2004.

[30]
P. Auffay et al., ‘Les quatre cents coups: The 400 blows. Les mistons’. Umbrella Entertainment, [Sydney?], 2003.

[31]
British Film Institute, Paris in the cinema: beyond the Flâneur : locations, characters, history. London: Published by Palgrave on behalf of the British Film Institute, 2018.

[32]
B. Bardot et al., Masculin féminin: 15 faits précis = Masculine feminine : 15 specific items, vol. 308. [U.S.A.]: Rialto Pictures, 2005.

[33]
‘Ross, Kristin. “New Men”. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 157-196’. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live

[34]
‘Süner, Ahmet. “Reinventing the everyday in the age of spectacle: Jean-Luc Godard’s artistic and political response to modernity in his early works”. Studies in French Cinema 15:2 (2015): 123-137’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/14715880.2014.987517?needAccess=true

[35]
‘Hensman, Ravi. "Oracles of Suburbia: French Cinema and Portrayals of Paris Banlieues, 1958 – 1968” Modern & Contemporary France2013 21. 4 (2013): 435–451’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/09639489.2013.802681?needAccess=true

[36]
J.-P. Melville, R. Borderie, E. Lépicier, A. Delon, F. Périer, and N. Delon, ‘Le samouraï: The samurai’. Criterion Collection, [S.l.], 2005.

[37]
‘Ross, Kristin. “New Men”. Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture. Cambridge: MIT Press, 1995. 157-196’. http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=49174&site=ehost-live

[38]
G. Vincendeau and British Film Institute, Jean-Pierre Melville: an American in Paris. London: BFI Pub, 2003.

[39]
H. Lefebvre, The Urban Revolution. Minneapolis: University of Minnesota Press, 2014. [Online]. Available: http://www.jstor.org/stable/10.5749/j.ctt5vkbkv

[40]
J. L. Godard, ‘Weekend’. Artificial Eye, London, 2004.

[41]
Nicholls, David, ‘Godard’s Weekend: Totem, Taboo and the Fifth Republic’, Monthly Film Bulletin, vol. 49, pp. 22–24, [Online]. Available: https://search.proquest.com/docview/740624161/fulltextPDF/A2D2A90838534626PQ/1?accountid=14782

[42]
Robert Philip Kolker, Altering Eye : Contemporary International Cinema pages 121-152. Open Book Publishers, 2009. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3384113&ppg=110

[43]
Nicholls, David, ‘Godard’s Weekend: Totem, Taboo and the Fifth Republic’, Monthly Film Bulletin, vol. 49, pp. 22–24, [Online]. Available: https://search.proquest.com/docview/740624161/fulltextPDF/C77FF5F041444244PQ/1?accountid=14782

[44]
D. Sterritt, The films of Jean-Luc Godard: seeing the invisible. Cambridge: Cambridge University Press, 1999.

[45]
‘Singkhra, Sutanya. “Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers”’, [Online]. Available: https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf

[46]
O. Assayas, R. Gautier, L. Creton, C. Melayer, and F. Armand, ‘Something in the air’. Artificial Eye, [London], 2013.

[47]
‘Reid, Donald. “We Have a Situation Here: Coming After May 1968 With Olivier Assayas”’, [Online]. Available: https://muse.jhu.edu/article/548419/pdf

[48]
Forsyth, Scott, ‘The Sixties Redux’, Cineaction, pp. 59–61, 2013, [Online]. Available: https://search.proquest.com/docview/1370867155/fulltextPDF/ECE6B9017CA74799PQ/1?accountid=14782

[49]
Corless, Kieron, ‘CATCH THE WIND’, Sight and Sound, vol. 23, pp. 46–49, [Online]. Available: https://search.proquest.com/docview/1366043426/fulltextPDF/99559D7C62374591PQ/1?accountid=14782

[50]
Kristin Ross, May ’68 and Its Afterlives. University of Chicago Press, 2008. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=496636&query=

[51]
O. Assayas, A. Debord, Österreichisches Filmmuseum, and SYNEMA-Gesellschaft für Film und Media, A post-May adolescence: letter to Alice Debord and two essays on Guy Debord, vol. 17. [Vienna]: Österreichisches Filmmuseum, 2012.

[52]
‘Singkhra, Sutanya. “Dreams of Lost Time: A Study of Cinephilia and Time Realism in Bertolucci’s The Dreamers”’, [Online]. Available: https://www.jstor.org/stable/pdf/j.ctt45kd32.6.pdf

[53]
G. Vincendeau, La Haine: (Mathieu Kassovitz, 1995). London: I. B. Tauris, 2005.

[54]
‘Hip Hop Cinema in France’, [Online]. Available: https://muse.jhu.edu/article/7962/pdf

[55]
C. Sciamma et al., ‘Girlhood’. Madman Entertainment, [Australia], 2015.

[56]
‘McNeil, Isabelle. “Shine Bright Like a Diamond”: music, performance and digitextuality in Céline Sciamma’s Bande de filles (2014)’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/14715880.2017.1345187?needAccess=true

[57]
‘Handyside, Fiona. 2015. "Emotion, Girlhood, and Music in Naissance des pieuvres (Céline Sciamma, 2007) and Un amour de jeunesse (Mia Hansen-Løve, 2011).” In International Cinema and the Girl: Local Issues, Transnational Contexts’, [Online]. Available: https://link.springer.com/content/pdf/10.1057/9781137388926_10.pdf

[58]
‘“Scenes of hurt and rapture: Céline Sciamma’s Girlhood.”’, [Online]. Available: http://fq.ucpress.edu/content/ucpfq/70/3/10.full.pdf

[59]
‘Claire Mouflard ""Il y a des règles:” Gender, Surveillance, and Circulation in Céline Sciamma’s Bande de Filles "’. https://muse.jhu.edu/article/643838/pdf

[60]
‘Higbee, Will. "“Beyond Ethnicity” or a Return to Type?: Bande de filles/Girlhood and the Politics of Blackness in Contemporary French Cinema”.’ [Online]. Available: https://www.jstor.org/stable/pdf/j.ctv3hvc45.14.pdf

[61]
Naomi Vogt, ‘DIVINE GIRLHOODS: FILMING YOUNG WOMEN IN FRANCE’S “BANLIEUES”’, Cinéaste, vol. 42, no. 3, 2017, [Online]. Available: https://www.jstor.org/stable/26356952?seq=1#metadata_info_tab_contents

[62]
‘Banlieue chronicles: a “demigrantising”, historical look at cinematic representations of the ill-famed French suburbs’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/17411548.2017.1376858?needAccess=true

[63]
‘Beugnet, Martine and Jane Sillars. "Beau Travail: time, space and myths of identity”.’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfci.1.3.166?needAccess=true

[64]
‘Hayward, Susan. "Claire Denis’ Films and the Post-colonial Body—with special reference to Beau travail (1999)”.’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfci.1.3.159?needAccess=true

[65]
‘“European Cinema and the Postheroic Narrative: Jean-Luc Nancy, Claire Denis, and Beau Travail”’, [Online]. Available: https://muse.jhu.edu/article/497942/pdf

[66]
M. Beugnet, Cinema and sensation: French film and the art of transgression. Edinburgh: Edinburgh University Press, 2007. [Online]. Available: http://www.jstor.org/stable/10.3366/j.ctt1r2d8p

[67]
‘Andrew, Dudley. “Amélie, or Le Fabuleux Destin du Cinéma Français”.’ [Online]. Available: https://www.jstor.org/stable/pdf/10.1525/fq.2004.57.3.34.pdf

[68]
‘Morissey, Jim. “Paris and voyages of self-discovery in Cléo de 5 à 7 and Le Fabuleux destin d’Amélie Poulain”.’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfc.8.2.99_1?needAccess=true

[69]
‘Bazgan, Nicoleta. "Female bodies in Paris: icon urban femininity and Parisian journeys.”’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/sfc.10.2.95_1?needAccess=true

[70]
‘Fevry, Sébastien. "Sepia cinema in Nicolas Sarkozy’s France: nostalgia and national identity”.’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/14715880.2016.1249208?needAccess=true

[71]
‘“Once Upon a Time that Never Was: Jean-Pierre Jeunet’s Le Fabuleux Destin d’Amelie Poulain (2001)”’, [Online]. Available: https://www.jstor.org/stable/pdf/25800167.pdf

[72]
M. Haneke, D. Auteuil, J. Binoche, and M. Bénichou, ‘Caché: Hidden’. Sony Pictures Home Entertainment, Culver City, Calif, 2006.

[73]
‘"White paranoia: Michael Haneke’s Caché reflected through Alain Robbe-Grillet’s novel La Jalousie.”’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/14715880.2016.1241585?needAccess=true

[74]
‘Memory, Trauma, and the French-Algerian War: Michael Haneke’s Caché (2005)’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/09639489.2011.588792?needAccess=true

[75]
‘Tension, transition and tone in Michael Haneke’s Caché’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1386/seci.9.2-3.99_1?needAccess=true

[76]
‘Caché: Or what the past hides’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/10304310903362767?needAccess=true

[77]
Agnès Varda, ‘The Gleaners and I Les Glaneurs et la Glaneuse’. Potential Films, 2000. [Online]. Available: https://vuw.kanopy.com/video/glaneurs-et-la-glaneuse

[78]
A. Varda, Zeitgeist Video (Firm), and Ciné Tamaris (Firm), ‘Les glaneurs et la glaneuse’. Zeitgeist Video, [New York, N.Y.], 2002.

[79]
‘"Post-1995 French cinema: Return of the social, return of the political?”’, [Online]. Available: https://www.tandfonline.com/doi/pdf/10.1080/09639480306933?needAccess=true

[80]
Barry Keith Grant , and Jeannette Sloniowski, ‘Massood, Paula J. "The Gleaners and ”Us": the Radical Modesty of Agnès Varda’s Les glaneurs et la glaneuse”. Documenting the Documentary : Close Readings of Documentary Film and Video’, Wayne State University Press, 2013. [Online]. Available: https://ebookcentral.proquest.com/lib/vuw/reader.action?docID=3416586&ppg=526

Bibliography for FILM 304 BETA