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Unraveling French Cinema provides a much-needed introduction to the complexities of French film for students, cineastes, and the movie-loving public. Kline analyzes seven cinematic arenas, each chosen to present the reader with an experience of reading a film for plot and a particular definition of what it means to make a film. Each chapter crafts a particular theory of film - as dream, hypnosis, mapping, poetry, seduction, mourning, and even ...

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Over nearly sixty years, Agnès Varda (b. 1928) gave interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the "Mother of the New Wave" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut...

Over nearly sixty years, Agnès Varda (b. 1928) gave interviews that are revealing not only of her work, but of her remarkably ambiguous status. She has been called the "Mother of the New Wave" but suffered for many years for never having been completely accepted by the cinematic establishment in France. Varda's first film, La Pointe Courte (1954), displayed many of the characteristics of the two later films that launched the New Wave, Truffaut...

Unraveling French Cinema" provides a much needed introduction to the complexities of French film for students, cineastes, and the movie-loving public. Looks at the differences between French and American national cinemaExplores how French directors shape their films around two potentially divergent goals: the narration of a story and an elaboration of some theory about film itself.Demystifies the "difficulty" of French cinema, allowing the Ame...

Cinema has always been "literary" in its desire to tell stories and in its need to borrow plots and narrative techniques from novels. But the French New Wave directors of the 1950s self-consciously rejected the idea that film was a mere extension of literature. With subversive techniques that exploded traditional methods of film narrative, they embraced fragmentation and alienation. Their cinema would be literature's rival, not its apprentice. In