Is It French? Popular Postnational Screen Fiction from France / / edited by Mary Harrod and Raphaëlle Moine.

• Superior document: Palgrave European Film and Media Studies
• TeilnehmendeR: Harrod, Mary,; Moine, Raphaëlle,
• Place / Publishing House: Cham, Switzerland : : Macmillan Palgrave,, [2023]; ©2023
• Year of Publication: 2023
• Edition: First edition.
• Language: English
• Series: Palgrave European film and media studies.
• Physical Description: 1 online resource (310 pages)

Table of Contents

• Intro
• Acknowledgements
• Contents
• Notes on Contributors
• List of Figures
• List of Tables
• Introduction: The Expanding Imagination of Mainstream French Films and Television Series
• From a Transnational to a Postnational Model
• Screening Postnational Frenchness
• Industry, Identity, Ideology
• References
• Part I: New Figures, New Voices
• From ImpersoNation to ImPosture: (Sub)urban Fantasy in Fanny Herrero's Dix pour cent and Drôle
• Streaming Frenchness: New Spaces, New Speech?
• Commodifying Glamour in Dix pour cent
• Standing Up for Multicultural France
• References
• Sign Language, Multilingualism and the Postnational Popular Screen: From La Famille Bélier and Marie Heurtin to La Révolution
• Contemporary French Multilingual Cinema
• The Rise of Sign Language Cinemas
• French Sign Language on Screen
• A Coda on CODA and Beyond
• Conclusion: The Postnational Within and Beyond French Borders
• Appendix: List of LSF Films and Television Series
• References
• Alexandre Aja: A Postnational Genre Auteur?
• Postnational Genre (and) Stardom
• From Nation to Genre in Aja's Oeuvre and Brand
• Crawl and Oxygène as Postnational Genre Texts
• References
• Part II: Embodying the Postnational: Fans, Filmmakers, Action Spectaculars
• An Alternative to Hollywood? EuropaCorp's 'Blockbusters' and the Global Audience
• American-Style Blockbusters?
• A Europeanness as Seductive As It Is Strange
• Conclusion: A Tenuous Ambition, a Downward Slope
• References
• The Limits of Luc Besson's 'Made-in-France' Blockbusters: From the Transnational to the Postnational in Valerian and Anna
• Critical Contexts and Cultural Settings
• The Evolution of Luc Besson's International Productions
• Valerian: Too French for a Global Blockbuster
• Anna: A Past-Facing Postnational Product
• References.
• Whose Lost Bullet? Netflix, Cultural Politics and the Branding of French Action Cinema
• Netflix and the French Action Complex
• Action Cinema and Cultural Translation
• Towards a Postnational Typology
• Appendix: Action-Oriented French-Language Netflix Originals (March 2023)
• Films
• Series
• References
• Part III: French Femininity and (Post)Feminism
• Charlotte Rampling Made in France: From a National to a Postnational Identity
• 'Auto-reverse' Dubbing
• Silent Strength as a Universal Language
• From a Specific to a Generic Form of Otherness
• References
• National and Postnational Femininity in Engrenages: The Limits of Empowerment
• Grit and Glamour: A 'Realist' Series?
• Women at Work in Engrenages: Feminist Intervention or Feminised Utopia?
• Female Sexuality in Engrenages: Body Matters
• National, International, Postnational
• References
• Camille Cottin: A Comic Reappropriation of French Femininity in a Globalised, Postfeminist Culture
• An Ironic Incarnation of Americanised Frenchness
• Camille Cottin's franchouillardise: Between Comic Unruliness and Misogynistic Comedy
• Camille Cottin Abroad: The Disintegration of Her Comic Persona
• References
• Part IV: Industry Players: From Product to Brand
• Depuis que le Streaming Existe?: Gaumont and French Cinema in the Streaming Era
• Dumas Takes the Helm: Gaumont Since Intouchables
• Gaumont and French Cinema in the Streaming Era
• Gaumont's Platform Original Films and Contemporary French Cinema
• References
• Netflix's Lupin: Cultural Heritage and Internationalisation in the Age of Global (S)VoD Platforms
• Internationalisation Practices
• Lupin with and Against Heritage Cinema
• Cultural Heritage and Modelling Fandom
• References
• An Industry Perspective on Dix pour cent and Ten Percent
• Index.