Jacqueline Audry : La femme à la caméra • Brigitte Rollet

Jacqueline Audry : La femme à la caméra

Presses universitaires de Rennes • ISBN 978-2-7535-3960-0 • Mars 2015 • 234 p. • 19€

Brigitte Rollet enseigne à Sciences-Po. Elle est chercheuse (HDR) en cinéma et médias au Centre d’Histoire culturelle des sociétés contemporaines (UVSQ), spécialiste des questions de genre et de sexualité sur petit et grand écrans. Elle est l’auteure entre autres, de Coline Serreau (Manchester University Press, 1998) et co-auteure de Cinema and the second sex. Women’s filmmaking in France in the 1980s and 1990s (Continuum, 2001).
Jacqueline Audry a réalisé seize long métrages entre 1946 et 1969, adaptant notamment Colette et Sartre, dans une démarche féministe étonnante dans le contexte idéologique de l’époque. Brigitte Rollet revient ici sur son parcours depuis les années 30, avec la volonté de faire de cet itinéraire singulier le révélateurs d’une histoire plus vaste, des débuts du cinéma à nos jours. S’appuyant sur les cultural et gender studies, l’auteur renouvelle notre vision de la cinéaste, mais aussi notre conception de la réception et de la postérité des films.

Sommaire

« Un cinéaste nommé Jacqueline ». Trajectoire d’une femme, de la scripte à la réalisatrice
Premiers films, premiers écarts. Filmer sous l’Occupation et à la Libération
La petite soeur de Méliès. « Filmer comme un homme, filmer comme une femme »
Genres, nation et gender
Unruly women : des femmes rebelles devant et derrière la caméra
Un film impensable : Olivia
Huis clos : l’enfer d’un film
Réceptions, financement et publics
L’impossible postérité : reconnaissance et oubli

Avec le soutien du CNL.

Contact :

Esther van Rossen
T: 01 39 25 56 41
communication.chcsc@uvsq.fr
CHCSC – Université de Versailles Saint-Quentin-en-Yvelines
47 boulevard Vauban – 78047 Guyancourt cedex

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JUST PUBLISHED by 2013 IAMHIST conference participants

“Moralizing Cinema: Film, Catholicism, and Power” (Routledge, 2015), edited by Daniel Biltereyst and Daniela Treveri Gennari

This volume, edited by Daniel Biltereyst and Daniela Treveri Gennari, is part of the recent interest in the study of religion and popular media culture (cinema in particular), but it strongly differs from most of this work in this maturing discipline. Contrary to most other edited volumes and monographs on film and religion, Moralizing Cinema does not focus upon films (cf. the representation of biblical figures, religious themes in films, the fidelity question in movies), but rather looks beyond the film text, content or aesthetics, by concentrating on the cinema-related actions, strategies and policies developed by the Catholic Church and Catholic organizations in order to influence cinema. Whereas the key role of Catholics in cinema has been well studied in the USA (cf. literature on the Legion of Decency and on the Catholic influenced Production Code Administration), the issue remains unexplored for other parts of the world. This book includes case studies on Argentina, Belgium, France, Ireland, Italy, Luxemburg, the Netherlands, and the USA.

“Finally, an investigation that demonstrates the close negotiation between film policies and filmmakers, power and art, ethics and aesthetics, as influenced by a variety of Catholic- inspired initiatives. This is a much needed intervention into the study of film and culture
alike.” — Ernest Mathijs, University of British Columbia, Canada

“This is a timely book providing well-researched case studies about the historical influence of religious organizations (in this case the Catholic Church) in the production, distribution, exhibition and consumption of films, from policies and leaders to censorship and audiences. A required text for cinema and media students and scholars interested in a comprehensive analysis of a relevant but under-researched topic. — Jose-Carlos Lozano, Texas A&M University, USA

TABLE OF CONTENT

Editors’ introduction: Catholics, cinema and power: An introduction

Part 1. Policies

1.      Guido Convents: Resisting the lure of the modern world. Catholics, international politics, and the establishment of the International Catholic Office for Cinema  (1918-1928)
2.      Dario Viganò: The Church, cinema and the ‘culture of dialogue’: Italian Catholics and the movies after the Second World War
3.      Thomas Doherty: The rise and fall of Catholic Hollywood, or from the Production Code to The Da Vinci Code
4.      Francisco Peredo-Castro: Catholicism and Mexican cinema. A secular state, a deeply conservative society and a powerful Catholic hierarchy

Part 2. Leaders

5.      Paul Lesch: Jean Bernard’s fight for ‘good’ cinema in Luxembourg
6.      Mélisande Leventopoulos: An alternative way of moralizing cinema: Father Flipo’s remedy for the Catholic Church’s propaganda failure in France (1945-1962)
7.      Elena Dagrada: A Triple Alliance for a catholic neorealism: Father Morlion and Roberto Rossellini

Part 3. Technology and production

8.      Karel Dibbetts: A Catholic voice in talking pictures: the International Eidophon Company (1930-1934)
9.      Federico Ruozzi: Pius XII as actor and subject: on the representation of the papal figure in cinema and television during the 1940s and 1950s
10.     Tomaso Subini: The Failed Project of a Catholic Neorealism: On Rossellini, Andreotti, Morlion and the Catholic Film Action

Part 4. Censorship and control

11.     Kevin Rockett: Protectionism and Catholic film policy in twentieth-century Ireland
12.     Maria Elena de las Carrera: A case of entente cordiale between State and Church: Catholics and film control in Argentina (1954-1984)
13.     Mariagrazia Fanchi: The ‘Ideal Film’. On the transformation of the Italian Catholic film and media policy in the 1950s and the 1960s

Part 5. Exhibition and cinema-going experiences

14.     Thunnis van Oort: Separating the sheep from the goats: Gendering space in the Cinema Auditorium in Rucphen (1929)
15.     Daniel  Biltereyst: “I think Catholics didn’t go to the cinema”: Catholic film exhibition strategies and cinema-going experiences in Belgium, 1930s-1960s
16.     Daniela Treveri Gennari: Moralizing cinema while attracting audiences: Catholic film exhibition in post-war Rome

Notes on contributors
Index

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