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Publisher: WIPO
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Publisher: Rowman & Littlefield
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This book explores the fine line between fiction and history and considers how France’s cultural production has contributed to shaping the image of the French Resistance. Though an examination of the lenses through which France has regarded its recent past, the book offers a key to understanding France’s national psyche.
Publisher: Cambridge Scholars Publishing
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“Plot”, writes Peter Brooks, “is so basic to our very experience of reading, and indeed to our articulation of experience in general, that criticism has often passed it over in silence…” (Reading for the Plot, xi). Finding the Plot both explores and helps to redress this critical neglect. The book brings together an international group of scholars to address the nature, effects and specific pleasures of consuming stories. If the central focus is on France and popular literary fiction, the book’s scope – like contemporary fiction itself – observes no national frontiers, and extends across a variety of media. The book addresses both the empirical question of which genres and types of text have been and are most “popular”, and the theoretical questions of how plots work, what pleasures they offer to readers, and why it matters that the plot should not be lost.
Publisher: Oxford University Press
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This book traces the history of the romance through the turbulent history of twentieth-century women in France. It offers a compelling analysis not only of the mass-market or popular romance, but also of the bestselling 'middlebrow' novel, and of 'literary' romances by authors including Colette, Simone de Beauvoir, and their contemporary successors.
Publisher: Oxford University Press
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Parodies have been created throughout times and cultures. A glimpse at the general judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody gathered a new youth but became unlawful. While copyright law grants exclusive rights to right-holders, this right is not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. To understand the meaning and scope of the parody exception, this book examines and compares five jurisdictions which differ in their protection of parodies: France, Australia, Canada, the US and the United Kingdom. This book is concerned with finding an appropriate balance between the protection awarded to right-holders and the public interest. This is achieved by analysing the parody exception to the economic rights of right-holders, the preservation of moral rights and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this book also considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this book aims at providing guidance on how to resolve conflicts where fundamental rights are in conflict. This is the first book in English to offer an in-depth investigation into the parody exception in copyright law, and comments on industry practices linked to this form of creative endeavours.
Publisher: Peter Lang
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Historical and literary scholars have become increasingly interested in women's roles in and approaches to war. In times of conflict, French and francophone women have made crucial contributions in aid of the 'patrie,' but wars have also set women against the governing powers, frequently forcing them to choose between their concerns as women, and the economic and social demands of their belligerent nations. This volume, the proceedings of the 9th UK Women in French conference entitled 'Les femmes et la guerre', brings together scholars from different academic disciplines - history, sociology, politics, literary criticism and gender studies - who explore the impact of war upon women in French and francophone societies. Les critiques litteraires et les historiens s'interessent de plus en plus aux roles des femmes pendant les periodes de guerre. Les femmes francaises et francophones ont, par leurs actions cruciales, aide la patrie en temps de guerre; cependant, les conflits ont egalement oppose les femmes a leur gouvernement, en les obligeant souvent a choisir entre leurs interets en tant que femmes et les exigences economiques et sociales de leur pays belligerant. Ce volume, reproduisant les actes du 9e colloque britannique organise par - Women in French -, intitule - Les femmes et la guerre -, rassemble des specialistes de diverses disciplines - histoire, sociologie, sciences politiques, critique litteraire et etudes de genre - pour analyser les effets de la guerre sur les femmes en France et dans les pays francophones.'
Publisher: Knopf
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For almost thirty years, David Thomson’s Biographical Dictionary of Film has been not merely “the finest reference book ever written about movies” (Graham Fuller, Interview), not merely the “desert island book” of art critic David Sylvester, not merely “a great, crazy masterpiece” (Geoff Dyer, The Guardian), but also “fiendishly seductive” (Greil Marcus, Rolling Stone). This new edition updates the older entries and adds 30 new ones: Darren Aronofsky, Emmanuelle Beart, Jerry Bruckheimer, Larry Clark, Jennifer Connelly, Chris Cooper, Sofia Coppola, Alfonso Cuaron, Richard Curtis, Sir Richard Eyre, Sir Michael Gambon, Christopher Guest, Alejandro Gonzalez Inarritu, Spike Jonze, Wong Kar-Wai, Laura Linney, Tobey Maguire, Michael Moore, Samantha Morton, Mike Myers, Christopher Nolan, Dennis Price, Adam Sandler, Kevin Smith, Kiefer Sutherland, Charlize Theron, Larry Wachowski and Andy Wachowski, Lew Wasserman, Naomi Watts, and Ray Winstone. In all, the book includes more than 1300 entries, some of them just a pungent paragraph, some of them several thousand words long. In addition to the new “musts,” Thomson has added key figures from film history–lively anatomies of Graham Greene, Eddie Cantor, Pauline Kael, Abbott and Costello, Noël Coward, Hoagy Carmichael, Dorothy Gish, Rin Tin Tin, and more. Here is a great, rare book, one that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own. Time Out named it one of the ten best books of the 1990s. Gavin Lambert recognized it as “a work of imagination in its own right.” Now better than ever–a masterwork by the man playwright David Hare called “the most stimulating and thoughtful film critic now writing.”
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La Bicyclette Bleue
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Notions Fondamentales Du Droit D auteur
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Le Diable En Rit Encore
Author: Régine DeforgesPublisher:
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Revisiting the French Resistance in Cinema Literature Bande Dessin e and Television 1942 2012
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Christophe CorbinPublisher: Rowman & Littlefield
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This book explores the fine line between fiction and history and considers how France’s cultural production has contributed to shaping the image of the French Resistance. Though an examination of the lenses through which France has regarded its recent past, the book offers a key to understanding France’s national psyche.
Finding the Plot
Author: Diana HolmesPublisher: Cambridge Scholars Publishing
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Format Type: PDF, Mobi
Size: 28,41 MB
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“Plot”, writes Peter Brooks, “is so basic to our very experience of reading, and indeed to our articulation of experience in general, that criticism has often passed it over in silence…” (Reading for the Plot, xi). Finding the Plot both explores and helps to redress this critical neglect. The book brings together an international group of scholars to address the nature, effects and specific pleasures of consuming stories. If the central focus is on France and popular literary fiction, the book’s scope – like contemporary fiction itself – observes no national frontiers, and extends across a variety of media. The book addresses both the empirical question of which genres and types of text have been and are most “popular”, and the theoretical questions of how plots work, what pleasures they offer to readers, and why it matters that the plot should not be lost.
Romance and Readership in Twentieth Century France
Author: Diana HolmesPublisher: Oxford University Press
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Size: 25,41 MB
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This book traces the history of the romance through the turbulent history of twentieth-century women in France. It offers a compelling analysis not only of the mass-market or popular romance, but also of the bestselling 'middlebrow' novel, and of 'literary' romances by authors including Colette, Simone de Beauvoir, and their contemporary successors.
The Parody Exception in Copyright Law
Author: Sabine JacquesPublisher: Oxford University Press
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Size: 24,73 MB
Download: 973
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Parodies have been created throughout times and cultures. A glimpse at the general judicial latitude generally afforded to parodies, satires, caricatures, and pastiches demonstrates the social and cultural value of this particular form of artistic expression. With the advent of technologies and the evolution of copyright legislation, creative endeavours in the form of parody gathered a new youth but became unlawful. While copyright law grants exclusive rights to right-holders, this right is not absolute. Legislation includes specific exceptions, which preclude right-holders from exercising their prerogatives in particular cases which foster creativity and cultural diversity within that society. The parody exception pertains to this ultimate objective by permitting users to reproduce copyright-protected materials for the purpose of parody. To understand the meaning and scope of the parody exception, this book examines and compares five jurisdictions which differ in their protection of parodies: France, Australia, Canada, the US and the United Kingdom. This book is concerned with finding an appropriate balance between the protection awarded to right-holders and the public interest. This is achieved by analysing the parody exception to the economic rights of right-holders, the preservation of moral rights and the interaction of the parody exception with contract law. As parodies constitute an artistic expression protected under the right to freedom of expression, this book also considers the influence of freedom of expression on the interpretation of this specific copyright exception. Furthermore, this book aims at providing guidance on how to resolve conflicts where fundamental rights are in conflict. This is the first book in English to offer an in-depth investigation into the parody exception in copyright law, and comments on industry practices linked to this form of creative endeavours.
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Femmes Face la Guerre
Author: Alison S. FellPublisher: Peter Lang
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Historical and literary scholars have become increasingly interested in women's roles in and approaches to war. In times of conflict, French and francophone women have made crucial contributions in aid of the 'patrie,' but wars have also set women against the governing powers, frequently forcing them to choose between their concerns as women, and the economic and social demands of their belligerent nations. This volume, the proceedings of the 9th UK Women in French conference entitled 'Les femmes et la guerre', brings together scholars from different academic disciplines - history, sociology, politics, literary criticism and gender studies - who explore the impact of war upon women in French and francophone societies. Les critiques litteraires et les historiens s'interessent de plus en plus aux roles des femmes pendant les periodes de guerre. Les femmes francaises et francophones ont, par leurs actions cruciales, aide la patrie en temps de guerre; cependant, les conflits ont egalement oppose les femmes a leur gouvernement, en les obligeant souvent a choisir entre leurs interets en tant que femmes et les exigences economiques et sociales de leur pays belligerant. Ce volume, reproduisant les actes du 9e colloque britannique organise par - Women in French -, intitule - Les femmes et la guerre -, rassemble des specialistes de diverses disciplines - histoire, sociologie, sciences politiques, critique litteraire et etudes de genre - pour analyser les effets de la guerre sur les femmes en France et dans les pays francophones.'
The New Biographical Dictionary of Film
Author: David ThomsonPublisher: Knopf
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Format Type: PDF
Size: 12,31 MB
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For almost thirty years, David Thomson’s Biographical Dictionary of Film has been not merely “the finest reference book ever written about movies” (Graham Fuller, Interview), not merely the “desert island book” of art critic David Sylvester, not merely “a great, crazy masterpiece” (Geoff Dyer, The Guardian), but also “fiendishly seductive” (Greil Marcus, Rolling Stone). This new edition updates the older entries and adds 30 new ones: Darren Aronofsky, Emmanuelle Beart, Jerry Bruckheimer, Larry Clark, Jennifer Connelly, Chris Cooper, Sofia Coppola, Alfonso Cuaron, Richard Curtis, Sir Richard Eyre, Sir Michael Gambon, Christopher Guest, Alejandro Gonzalez Inarritu, Spike Jonze, Wong Kar-Wai, Laura Linney, Tobey Maguire, Michael Moore, Samantha Morton, Mike Myers, Christopher Nolan, Dennis Price, Adam Sandler, Kevin Smith, Kiefer Sutherland, Charlize Theron, Larry Wachowski and Andy Wachowski, Lew Wasserman, Naomi Watts, and Ray Winstone. In all, the book includes more than 1300 entries, some of them just a pungent paragraph, some of them several thousand words long. In addition to the new “musts,” Thomson has added key figures from film history–lively anatomies of Graham Greene, Eddie Cantor, Pauline Kael, Abbott and Costello, Noël Coward, Hoagy Carmichael, Dorothy Gish, Rin Tin Tin, and more. Here is a great, rare book, one that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own. Time Out named it one of the ten best books of the 1990s. Gavin Lambert recognized it as “a work of imagination in its own right.” Now better than ever–a masterwork by the man playwright David Hare called “the most stimulating and thoughtful film critic now writing.”
The French Review
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