By Rosanna Maule
Conceal -- initial Pages -- Contents -- checklist of Illustrations -- record of Tables -- Acknowledgments -- advent -- half One: The 'Death of Cinema' and the Institutionalization of the writer -- bankruptcy 1: The movie writer and the Survival of eu Cinema -- bankruptcy 2: the center iteration -- bankruptcy three: The tricky Legacy of the Nouvelle obscure -- half : The movie writer within the New Audio-visual process -- bankruptcy four: For an Impure Cinema -- bankruptcy five: a unique form of Cinephilia -- bankruptcy 6: Made in Europa -- half 3: the feminine writer within the period of Post-feminism -- bankruptcy 7: Auteurism and Women's Cinema in France, Italy and Spain -- bankruptcy eight: woman Authors and Gendered id in movie -- bankruptcy nine: female concerns -- end -- Bibliography -- Index -- again disguise
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Extra info for Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy and Spain since the 1980s
In its 1950s heyday, the art film directors consolidated European cinema’s prestige within the international art house circuit. At the end of the decade, the author had become not only an important approach to film because of auteur criticism, but also a cinematic mode and a promotional category of its own, endorsed by government subsidies and public institutions aiming at maintaining a distinctive niche in the art house film circuit. From this perspective, author cinema in Western Europe represents more than just an aesthetic concept and is strictly intertwined with the industrial, economic, and cultural interests of the film systems, as well as the national and transnational priorities of the Member States of the European Community.
This move automatically affected the middle and small ranges of film production and exhibition. Author cinema moved either to larger structures of film production and distribution or remained confined to small, independent film companies, whose films had almost no impact on the film market. Either way, the global dimension of mainstream film distribution left hardly any room for theatrical or videotape distribution of author films. European national film industries used popular subgenres to counteract the prominence of Hollywood blockbusters in their domestic markets.
The Parisian-based tradition of cinéphilisme (cinephilia) and film criticism is largely responsible for the cultural shaping of French film authorship (de Baecque 2003). 8 To be sure, French auteurism tried to disengage itself from these cultural links. However, as Antoine de Baecque notes, the Jeunes Turcs of Cahiers du Cinéma both betrayed and continued this critical tradition, embodied by the father figures of André Bazin and Jean Georges Auriol and hosted in the Revue du cinéma. If Truffaut and colleagues moved away from the literary style of the Revue du cinéma and eventually freed themselves from their Oedipal complexes, they nevertheless retained some of the critical approaches and perspectives of both, including their interest in literature and their use of film to explore contemporary reality (de Baecque 1991: 15–16).