Manual Mondes du cinéma 2 (French Edition)

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To this end the association holds an annual awards ceremony televised on TV5 monde in rotating cities of the francophone world — the first three ceremo- nies were held in Dakar, Paris and Abidjan — accompanied by screenings of the films nominated for awards.

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Another aim is to provide funding on a competitive basis to support local film projects in the nation hosting the award. For example, Transylvania , France by Tony Gatlif, a major transnational French director, might not be included because while made and set in Romania, the international troupe of actors primarily converse in English.

The narrative of this multilocal film with dialogue in English, French, Italian and Wolof criss-crosses between Dakar, New York, and Turin, in the process demonstrating that the post- colonial axis France—Senegal in this case is no longer the sole or even the primary trajectory for French speakers. You have the accent.


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The verbal gymnastics that Elvis and his wife engage in as a means of explaining their identities as francophone Quebecers become the object of ridicule for Falardeau and Poulain, who created the buf- foonish Elvis as a caricature of anti-independence voters after the failed Quebec independence referendum.

First, it puts on display the difficulty of naming complex identities that cannot be summed up by a national label and the incessant need of individuals and communities to label themselves.

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This is something that most of the characters, actors, and directors under consideration in this volume are likely to grapple with. Case studies in the following chapters involve speakers of French from around the world, including Quebec, Africa and Europe, who communicate with other francophones but also sometimes fail to make themselves understood due to differences within the French lan- guage.

A number of the films covered involve lateral connections between different places and different accents from the French-speaking world. Chouf, funded by the CNC, expresses this diversity with its Arabic title tran- scribed into Latin characters and is a still too rare example of diversity in French cinema. Yet if we believe that this is a good starting point, it is not enough.

The two or more interlocutors must forge some sort of connection via a common marginal or alternative position or a shared ethic. We will return to this idea in the following section. Adding the question of accents to the conversation highlights our desire to also focus on diversity within the spaces of fran- cophone cinema.

Instead, we prefer to view it as an optic or framework through which to approach a flexible corpus.

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Each of the films, filmmakers, actors and locations in this book could be approached in a number of ways. The layers of a kaleidoscope are not fixed but shift, and various images become clear or are seen under different light as the instrument is turned and light refracted. It may be multilingual, or in some cases contains very little French but holds a link to the production appa- ratus of French-language cinema or nurtures a cultural connection with the francophone world.

It might float within and across fluid margins. It might also be confronted and divided — indeed increasingly so — by less permeable boundaries, such as the official borders of the European Union. Other contributors engage with resolutely peripheral spaces, such as Dakar and Ouagadougou Chapter It must also be stated that even when potentially meaningful encounters result, the transnational is not a priori positive, liberating, celebratory, or virtuous Ezra and Rowden 9; Hjort There are a number of reasons that people and languages come into contact. Instead, its components are protean and interchangeable.

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Similar, if more modest, systems of support exist in Switzerland and Luxembourg. The Quebec film industry, based in Montreal, is strong and self- sufficient, despite its difficulties with some exceptions penetrating the francophone film market outside of its borders see Chapter 9 for further details. It may be granted before production pre-filming subsidies.

Projects that have not been selected before production can be presented for completion assistance post-filming subsidies.

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Each year, four supporting sessions are organized and 40 to 50 projects are granted. Moreover, 12 films were presented in the different selections of the Festival de Cannes in May Aug 4. About us.

Bradley Cooper, l’homme qui met tout le monde d’accord - Reportage cinéma

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