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Статті в журналах з теми "French noir":
1
Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (December 21, 2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.
Анотація:
The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva (1981).
2
Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.
Анотація:
The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Crime thrillers that were retrospectively labelled as film noirs, were not only known and enjoyed by the Greek public from 1945 onwards, but also their conventions and imagery were used in the journalistic discourse, showing a wider diffusion to society that was not only limited to communities of cinephiles. From this perspective, we examine the vocabulary and terminology invented and established by Greek reviewers and distributors, in order to describe the key features of the films that today we classify as film noir. We discuss how emblematic films that today form the canon of film noir were received at that time, as well as the negative discourses that appear at the same time in the public sphere, especially around issues of ‘moral panic’, violence and delinquency. Furthermore, the distinction in the reception of French vs. American films enables us to apprehend the different ideological stances towards these films and to understand why French crime films were more influential in Greece than their American counterparts.
3
Wygoda, Tsivia Frank. "(Un)Mapping the “Pied-Noir Jew”: Indeterminacy and the Representation of Pied-Noirs and Algerian Jews in Contemporary French Cinema." MLN 138, no. 4 (September 2023): 1337–60. http://dx.doi.org/10.1353/mln.2023.a920094.
Анотація:
Abstract: This article offers new reflections on the articulation of Pied-Noir and Algerian Jewish memory through the figure of the “Pied-Noir Jew” in French culture. The analysis of cinematographic materials and their literary sources shows how Algerian Jewish screen and stage artists participated in the creation in France of a nostalgic cultural community of Algerian Jews and French-European ex-settlers while also navigating the tensions and differences between Pied-Noir and Jewish memory of Algeria. The aporetic figure of the “Pied-Noir Jew” as a cultural and affective concept encapsulates the afterlife of Algerian Jews’ entangled identities.
4
Talarmin, Antoine, Bruno Vion, Abel Ureta-Vidal, Guénola Du Fou, Christian Marty, and Mirdad Kazanji. "First seroepidemiological study and phylogenetic characterization of human T-cell lymphotropic virus type I and II infection among Amerindians in French Guiana." Journal of General Virology 80, no. 12 (December 1, 1999): 3083–88. http://dx.doi.org/10.1099/0022-1317-80-12-3083.
Анотація:
We investigated the serological, epidemiological and molecular aspects of human T-cell lymphotropic virus type I and II (HTLV-I/II) infection in the Amerindian populations of French Guiana by testing 847 sera. No HTLV-II antibodies were detected, but five individuals (0·59%) were seropositive for HTLV-I. Analysis of the nucleotide sequences of 522 bp of the env gene and the compete LTR showed that all of the strains from French Guiana belonged to the cosmopolitan subtype A. The similarities were greater between Amerindian and Creole strains than between Amerindian and Noir-Marron strains or than between Creole and Noir-Marron strains. Phylogenetic analysis showed two clusters: one of strains from Amerindians and Creoles, which belong to the transcontinental subgroup, and the other of strains from Noirs-Marrons, belonging to the West African subgroup. Our results suggest that the Amerindian HTLV-I strains are of African origin.
5
Gorrara, C. "French and American Noir: Dark Crossings." French Studies 65, no. 2 (March 25, 2011): 274–75. http://dx.doi.org/10.1093/fs/knr038.
6
Hollister, Lucas. "The Green and the Black: Ecological Awareness and the Darkness of Noir." PMLA/Publications of the Modern Language Association of America 134, no. 5 (October 2019): 1012–27. http://dx.doi.org/10.1632/pmla.2019.134.5.1012.
Анотація:
Ecocritical thought presents serious challenges for political readings of crime fiction and noir, notably in French and American cultural contexts, and these challenges merit a broad examination. How does the Anthropocene change our relation to the frames of intelligibility and the definitions of violence found in crime fictions? The scalar problems introduced by the cosmological perspectives of ecological awareness suggest the need to redraw the frontiers of noir, to imagine new green-black readings that transform our understanding of what counts in and as a noir novel.
7
Slyomovics, Susan. "A Settler Colonial Memorial Book: The Agricultural School and Museum of Sidi-Bel-Abbès, Algeria." Diaspora: A Journal of Transnational Studies 23, no. 2 (September 1, 2023): 241–60. http://dx.doi.org/10.3138/diaspora.23.2.2023.07.30.
Анотація:
In French colonial Algeria (1830–1962), a European settler community was made from both displacement and the encounter with Indigenous Algerian collectives. After Algeria's independence from France in 1962, this community was remade by a second displacement and the encounter in France with the metropolitan community. Known as Pieds-Noirs, this community has organized associative life, books, and newsletter publications, and sometimes return visits to Algeria. This article looks at Pieds-Noir settler associations devoted to Algeria's colonial agricultural schools, model farms, and nurseries, and how they reconstitute metropole-colony and colony-metropole through memory and a memorial book. This case study of the agricultural school in the town of Sidi-Bel-Abbès, former headquarters of the French Foreign Legion, discusses post-independent Algerian responses to return visits, claims, and writings by settlers.
8
Panuntun, Ari Bagus, and Lysa Osmani. "Romantic Primitivism and Literary Neocolonialism in Camara Laye’s Novel L’Enfant Noir." Poetika 11, no. 2 (October 31, 2023): 61. http://dx.doi.org/10.22146/poetika.v11i2.87730.
Анотація:
The article examines the depiction of romantic primitivism in Camara Laye’s novel L’Enfant noir (The Dark Child) and the phenomenon of literary neocolonialism behind its publication. L’Enfant noir is a novel published when Guinea was still under French colonization in the 1950s. It tells the story of a happy black child growing up in the middle of a beautiful Guinean countryside, that was completely untouched by the atrocities of colonialism. Upon its publication by Plon, a French publishing house, the novel received different responses from African and European readers. In Africa, it was perceived as turning a blind eye to the cruelty of colonialism. However, in Europe, it was showered with praise and it even received a prestigious literary award. To examine this phenomenon, this article analyzes the novel both intrinsically and extrinsically. Intrinsically, it uses the theory of romantic primitivism to analyze how the novel romanticizes the lives of African indigenous people constrained by colonialism. Extrinsically, it discusses the phenomenon of literary neocolonialism behind the publication of L’Enfant noir. The discussion about literary neocolonialism is divided into two parts. Firstly, it addresses the historical analysis of Plon’s publishing house, its relations with the French power, and the political interests underpinning the novel’s publication. Secondly, it highlights the strategy the publisher uses to accentuate exoticism in the novel’s peritext to market the book in Europe. The novelty of this article lies in its discovery of the elements of romantic primitivism found in the novel while it also proves that literary neocolonialism towards L’Enfant noir persists to this day.
9
Alba, Richard, and Roxane Silberman. "Decolonization Immigrations and the Social Origins of the Second Generation: The Case of North Africans in France." International Migration Review 36, no. 4 (December 2002): 1169–93. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00122.x.
Анотація:
Immigrations resulting from decolonization challenge the ability of researchers to track accurately the incorporation of the second generation through classifications based on country of origin. This article considers a classic example of such an immigration - from North Africa to France at the time of and after the independence of Algeria, Morocco, and Tunisia. This immigration was ethnically complex, composed - to take a rough cut - of the former colonists of European background (the pieds noirs) and low-wage laborers belonging to the indigenous population (the Maghrebins). A historical review indicates that the key to distinguishing these two groups lies in the exact citizenship status of the immigrants, for the former colonists were French by birth and the others generally were not. Analyzing micro-level data from the censuses of 1968, 1975, 1982, and 1990, we apply this distinction to the family origins of the second generation, born in France in the period 1958–1990. We show that the pied-noir population exhibits signs of rapid integration with the native French, while the Maghrebin population remains apart. A logistic regression analysis reveals that, based on a few characteristics of their parents, one can distinguish the Maghrebin from the pied-noir second generations with a high degree of accuracy. This finding demonstrates the sharp social distinction between the two groups and suggests a method for future research on their incorporation.
10
Smith, Steven G. "The Filter and the Viewer: On Audience Discretion in Film Noir." Film-Philosophy 28, no. 2 (June 2024): 375–94. http://dx.doi.org/10.3366/film.2024.0273.
Анотація:
To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.
Дисертації з теми "French noir":
1
Ivemark, Biorn. "Bleu blanc noir : assimilation trajectories, identity dynamics and boundary work of French Antilleans, West Africans, and their children in Paris." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62929.
Анотація:
This study compares the assimilation trajectories, identity dynamics and boundary work of French Antilleans, West Africans and their descendants in the Paris region. While previous studies have focused on the experiences of French Antilleans and sub-Saharan Africans separately or those of Blacks in France as a whole, this study engages in a more minute comparison of the experiences of West African immigrants and French Antilleans across two generations in mainland France. This comparison primarily aims to determine the role of the divergent civic, cultural and religious backgrounds of these groups alongside their largely shared racial characteristics in how they assimilate to French society across two generations. These variables are of particular interest given the salience of civic and cultural distinctions in France, while racial distinctions are notoriously downplayed. The main theoretical goal of the study is to assess the usefulness of segmented assimilation theory in accounting for the various assimilation outcomes of these groups.
Drawing on 55 in-depth interviews complemented with wide-ranging statistical data, I explore the impact of cultural, religious and racial factors on the intergenerational educational and professional trajectories of both populations, analyze how these factors influence their identification patterns and assess how members of these groups seek to negotiate the various symbolic boundaries that they come up against, both in their relations to each other and to the majority population.
The results suggest that French Antilleans have more favourable educational and professional outcomes than West Africans. Despite the importance of racial barriers for both groups, the findings also underscore the salience of cultural and religious forces as well as the identification dynamics and boundary work that both groups engage in. While some segmented assimilation mechanisms remain valid in the French case, the study also demonstrates the importance of empirically identifying societally specific assimilation barriers and cultural segments for the theory to retain its usefulness in other national contexts.Arts, Faculty of
Sociology, Department of
Graduate
2
Crepiat, Caroline. "Le sujet lyrique dans la poésie du Chat Noir (1882-1897)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20008.
Анотація:
La fin du XIXe siècle voit éclore un grand nombre de « petites » revues littéraires et artistiques, liées aux avant-gardes et à la bohème. Parmi elles, Le Chat Noir (1882-1897), créée par Rodolphe Salis et Émile Goudeau pour assurer la promotion du désormais célèbre cabaret éponyme. On y publie des contes, des histoires drôles et sans paroles, mais aussi de la poésie. Le présent travail entend étudier de plus près ces poèmes, à la lumière de la crise qui agite alors la production littéraire. Il s’agit plus précisément d’analyser le traitement qui est fait de la notion de sujet lyrique, « principe structurel » (Käte Hamburger) du lyrisme. Dire " je" semble en effet perdre tout sens aux yeux de ces poètes, non seulement du fait du poids de la tradition qu’il est de bon ton de subvertir au nom de l’esprit fumiste dont ils se réclament, mais encore du régime collectif au sein duquel ils s’expriment. Toutefois, les multiples provocations à son encontre permettent aussi à ces artistes de disséquer et de questionner cette notion, et même de se la réapproprier, tant collectivement qu’individuellement. Une réflexion croisée, à la fois poétique, esthétique et sociopoétique, nous amènera à définir les logiques, enjeux et stratégies d’un tel positionnementThe end of the 19th Century is a key period for the « little » literary and artistic journals, produced by avant-garde and bohemian groups. One of them, Le Chat Noir (1882-1897), created by Rodolphe Salis and Émile Goudeau to promote the famous and eponymous cabaret. Tales, humoristic texts, illustrations or poetry appear in its columns. The present thesis aims for a closer study of these poems, in the light of the crisis which troubles the literary production. It is more precisely to analyse how the notion of the lyric subject, which is considered as the « structural principle » (Käte Hamburger) of lyricism, is treated. Indeed, saying « I » seems to lose sense for these poets, not only because of a tradition that is to subvert for the « fumiste » spirit’s sake which they claim, but also because of the collective context in which they find a space of expression. However, those provocations against the lyrical « I » is also for these artists a way to question and dissect it, and even to reappropriate it, for the collective as much as the individual distinction. A mixed reflexion, based on poetic, esthetic and « sociopoétique » analysis, will lead us to define the logics, stakes and strategies of such a position
3
Pillard, Thomas. "Négociations identitaires : le film noir français face aux bouleversements de la France d’après-guerre (1946-1960)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100066.
Анотація:
Bien que le terme « film noir » soit généralement réservé au cinéma hollywoodien, cette appellation a en réalité été forgée dans la France des années 1930 pour désigner des films français, et elle renvoie plutôt à une forme transnationale, circulant entre l’Europe et Hollywood. C’est à ce titre que l’on se propose de l’étudier dans le cinéma hexagonal, en montrant que le genre noir s’inscrit en France dans le cadre d’une tradition ancienne, et en analysant l’évolution du « film noir français » après-guerre, selon une approche historique et culturelle. En postulant que le film noir est indissociable d’un discours sur la modernité, cette thèse montre qu’il existe trois actualisations de la forme « noire » dans la France de 1946-1960, qui témoignent chacune des ambivalences d’une nation en transition, devant négocier le basculement entre l’Occupation et l’entrée dans la société de consommation : le « réalisme noir » exprime un fort pessimisme ayant des implications nostalgiques, masculinistes et nationalistes ; la « série noire pour rire » propose au contraire une réappropriation ludique de l’Histoire et de la modernité ; le film de gangsters confronte des personnages vieillissants marqués par la guerre aux mutations contemporaines et à l’American way of life. Par sa diversité même, le film noir français illustre ainsi les contradictions de la France d’après-guerre : désireuse de se plonger dans l’avenir mais obsédée par son passé traumatique, en partie séduite par la « tentation américaine » mais déterminée à conserver sa « francité »Although the term « film noir » is generally associated with Hollywood cinema, this generic label was originally coined in France in reference to French films made in the 1930s, and the « noir » genre defines a transnational form which circulated between Europe and Hollywood. We intend to study « noir » films in French cinema through this lens, highlighting that the genre is rooted in an old French tradition. Our analysis of the evolution of French film noir foregrounds historical and cultural aspects, positing that film noir articulates a critical discourse on modernity. This doctoral thesis shows that the « noir » form underwent changes which evidenced the ambivalence of identity in a nation in transition between 1946 and 1960, that had to negotiate the cultural shift from Occupation to the Consumer society : the « noir realism » cycle expressed a strong pessimism that has nostalgic, masculinist and nationalist implications, in opposition to the « série noire pour rire » which illustrated a playful reappropriation of History and modernity ; last but not least, gangster films built on the contrast between older characters, marked by the burdens of war, and contemporary mutations, including the development of the American way of life in France. Through its diversity, French film noir reveals the contradictions of post-war French society : the country was keen to dive into the future but obsessed with its traumatic past ; in part seduced by the « American model », it was however determined to keep its « French identity »
4
Gueneau, Sybila. "Roman noir et critique sociale : réel et violence dans le néo-polar (après mai 1968)." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0171.
Анотація:
Le mouvement du « néo-polar » ou « Nouvelle école du polar français » nait en France après les événements de mai 1968. Son fondateur, l’écrivain Jean-Patrick Manchette, également à l’origine du terme, forge un genre inspiré du roman noir américain lequel incarnera le tournant politique du polar français. Ses principaux auteurs, Jean-Patrick Manchette, Pierre Siniac, Frédéric Fajardie, A.D.G., Jean Vautrin, Jean-Bernard Pouy, Hervé Prudon, Thierry Jonquet et Didier Daeninckx, travaillent une écriture de la violence au plus près de la contestation politique tout en mettant en tension les codes du roman noir. Depuis l’apparition du néo-polar, le roman noir français s’attache à questionner les crises sociales de son temps. Le tournant social du genre privilégie une critique de la société de consommation, des institutions politiques et de la vie quotidienne des classes populaires faisant écho aux débats à teneur sociologique de l’époque. Les romanciers du néo-polar introduisent dans la fiction criminelle, par leur travail sur la narration, une pensée critique du contemporain à travers la représentation des corps comme marchandises et une réflexion sur la violence autant physique que symbolique, les entremêlant sans cesse. Dans le sillage de Jean Baudrillard, Michel Foucault, Guy Debord, et l’influence du cinéma et du mouvement punk, ils produisent un dialogue entre littérature populaire, sciences sociales et pensée politique. Cette thèse, la première prenant pour objet le néo-polar en tant que mouvement littéraire, propose une réflexion sur les formes que prend le discours de la critique sociale dans le genre en s’appuyant sur un corpus de romans écrits par ses auteurs principaux. En se fondant sur une analyse autant littéraire et sociologique que narratologique, elle articule trois directions d’analyse : le dépassement des codes du genre noir, la mise en place de nouvelles structures narratives et leur signification. S’ inscrivant dans le sillage du situationnisme, le néo-polar place l’individu face à la violence propre au crime et à celle d’une société monstrueuse et aliénante. Ces représentations mettent la violence au centre de la réflexion : dans la diégèse, mais aussi dans la langue. La thèse considère enfin l’ambiguïté du discours politique d’un genre que l’on a coutume de qualifier comme le virage à gauche du roman noir français mais que nous concevons plutôt comme sa forme déconstruite et nihiliste, à l’image de ce que le mouvement musical punk fût pour le genre rock à la même époque. Ce travail replace le mouvement du néo-polar dans l’histoire de la littérature populaire de la seconde moitié du XXe siècle en soumettant à l’analyse littéraire des ouvrages qui ne l’ont jamais été auparavant (les romans d’Hervé Prudon, Pierre Siniac, Jean Vautrin et Thierry Jonquet). Il entend mettre à jour l’empreinte que ce mouvement a laissé sur la culture populaire de l’époque. Loin de n’être qu’un effet de mode, le néo-polar témoigne d’une vision renouvelée de la littérature de genre qui, dans le sillage de mai 68, questionne autant la littérature que les institutions politiquesThe “Neo-polar” movement or “New French School of Crime Fiction” emerged after the events of May 1968. Its founder Jean-Patrick Manchette coined this term, forging a genre inspired by American noir which incarnates the political shift in French crime fiction. Its main authors, Jean-Patrick Manchette, Pierre Siniac, Frédéric Fajardie, A.D.G., Jean Vautrin, Jean-Bernard Pouy, Hervé Prudent, Thierry Jonquet, and Didier Daeninckx expressed via their writing the violence coming from this political questioning while pushing the boundaries of crime fiction’s conventions. Since the birth of Neo-polar, French crime fiction has centered on questioning the social turmoil of its era. The genre’s social shift favors criticism of consumerism, political institutions, and working-class everyday life, echoing the sociological debates of that time period. Through their narration, Neo-polar writers introduced critical thinking about modernity to crime fiction via the representation of bodies as merchandise and a reflection on physical and symbolic violence, constantly intertwining them. Following the works of Jean Baudrillard, Michel Foucault, Guy Debord, and the influence of cinema and the punk movement, they produce a dialogue between popular literature, social sciences, and political thinking. This thesis, which is the first to treat the Neo-polar as a literary movement, offers a reflection on the different forms of social critique in the genre by examining a corpus of novels written by the movement’s main authors. Through its roots in literary, sociological, and narratological analysis, this thesis articulates three analytical perspectives—the breaking of noir’s genre conventions, the establishment of new narrative structures, and their meaning. Within the scope of situationism, the Neo-polar positions the individual against crime violence and against the violence which comes from a monstrous and alienating society. These representations place violence at the core of this deliberation: in the narrative structure, but also in language. This thesis considers the ambiguity of the political discourse of a genre that is mainly qualified as French noir’s shift to the left, but that we would rather perceive as its deconstructed and nihilistic form, mirroring what the punk movement was for rock at the time. This thesis situates the Neo-polar movement within the historical and literary context of the second half of the 20th century through the literary analysis of works which were never studied before (novels by Hervé Prudon, Pierre Siniac, Jean Vautrin Thierry Jonquet). It aims to emphasize the impact that this movement had on popular culture from that era. Neo-polar is from being a mere fad; it demonstrates a renewed vision of this literary genre, which in the context of May 1968, questions literature as much as it questions political institutions
5
Morgan, Daniel. "Du crime de guerre au fait divers ˸ la justice pénale, un enjeu politique dans le cinéma français, 1945-1958." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA124.
Анотація:
Le cinéma français de l’après-guerre, largement apolitique, laisse pourtant surgir des questionnements autour de la remise en place de l’État de droit dans ses représentations de la justice pénale. Point de rencontre entre l’individu et l’État qui doit rétablir sa légitimité après les abus et les exactions du régime de Vichy, la justice représente un thème épineux pour les cinéastes, d’autant plus que le cinéma est à cette époque un moyen d’expression hautement surveillé, censuré et toujours associé à la propagande des régimes totalitaires. À partir d’un corpus de quarante longs métrages de fiction, l’objectif de cette étude est d’analyser les représentations des tribunaux, des forces de l’ordre, des prisons, du crime et du châtiment par le média de masse le plus important de l’époque, avant que la Nouvelle Vague n’entraîne une transformation de l’industrie et de l’esthétique cinématographiques et que la télévision atteigne un public plus nombreux encore. Les critiques dans la presse, les archives de la censure publique ou encore les bandes d’actualités qui abordent ces mêmes thèmes font partie des sources utilisées dans cette étude pour replacer dans leur contexte historique les images de la justice dans le cinéma de fiction. Souvent dépolitisés, parfois propagandistes, en quelques cas subversifs, ces films permettent de délimiter le périmètre d’expression possible autour de ce thème intrinsèquement politique dans la France des années 1940 et 1950. Ils fournissent un aperçu de la morale, des idéaux, des tabous, des espoirs et des peurs d’une société qui a rétabli la démocratie, mais qui commence à interroger la violence de ses propres pratiques de maintien de l’ordreAlthough French cinema from the period following World War Two is known for being largely apolitical, its images of criminal justice allow for a glimpse of the difficult questions that the postwar society was forced to ask itself about its return to the rule of law. As a point of conflict between the individual and the state—in a state attempting to reestablish its legitimacy—criminal justice was a delicate subject for filmmakers to address, especially since the cinematic medium, still seen as a means of propaganda and associated with totalitarian regimes, was strictly monitored and censored by public authorities. Using a corpus of 40 feature-length fiction films, this study attempts to analyze the representations of law enforcement, courts, prisons, crime, and punishment in the most important mass media of the era, before the transformation of the film industry by the New Wave and the spread of television to a substantial audience. A range of primary sources, from film reviews in the press to public censorship archives and newsreels dealing with similar themes, help to place the feature films’ images of criminal justice in their historical context. Often depoliticized, sometimes propagandistic, occasionally subversive, the films reveal the possibilities and the limits of expression on an intrinsically political topic, in the film industry and more broadly in 1940s and 1950s French society. They expose the morals, ideals, taboos, hopes and fears of a nation that had recently reestablished democracy but faced difficult questions about the violence of its own methods of maintaining order
6
Fossé, Noëmie. "Libération, délinquance et trafics en Seine-et-Oise : restrictions, consommation et marché noir des produits de l'U.S. Army (1944-1950)." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010588.
Анотація:
À la Libération, vu les pénuries et les restrictions, le troc, entre civils et militaires américains, s’organise tout naturellement. Mais, les produits de l’U.S. Army font rapidement l’objet de trafics, essentiellement basés sur un échange monétaire. En Seine-et-Oise, au cours des premiers mois de liberté, ce phénomène économique enregistre un développement au processus rapide, favorisé par l’installation de troupes et d’infrastructures américaines ainsi que par le désenchantement de la Libération. En 1945, vu le contexte militaire, économique et social, l’expansion des trafics est fulgurante. D’ailleurs, la gangstérisation des relations, entre certains civils et militaires, et l’inertie des polices franco-américaines et de la justice française ont largement contribué à cette expansion. Les trafiquants professionnels et occasionnels volent, recèlent ou trafiquent, dans la plupart des cas, des vêtements, des chaussures, des textiles, des denrées alimentaires, de l’essence ou des pneumatiques. Mais, du redéploiement des troupes américaines au retour d’un marché libre, ces trafics de proximité perdent brusquement de leur importance. L’année 1946 marque les derniers temps forts de ce marché clandestin. De 1947 à 1949, les trafiquants assistent à la disparition des trafics et à la fin d’une époque dorée. Car, malgré les mésententes locales et l’antipathie réciproque, ces trafics ont enregistré un succès phénoménal. Les civils et les militaires américains étaient conscients de la brièveté de cette manne. Cependant, en 1950, même si le contexte économique diffère totalement, les trafics de produits américains vont réapparaître aux abords des bases militaires américaines de l’OTANAt the Liberation, in circumstances of scarcity and restrictions, barter between civilians and American servicemen developed quite naturally. But the U.S. Army goods quickly became the object of illicit sales, mainly for cash. In Seine-et-Oise, during the first months of freedom, this economic phenomenon developed rapidly, facilitated by the installation of American troops and infrastructures as well as by the disillusionment that followed Liberation. In 1945, given the military, economic and social context, the expansion of black market traffic was sensational. Moreover, the gangsterization of relations between some civilians and servicemen and the inertia of Franco-American policing and French justice contributed significantly to this expansion. The professional and occasional traffickers stole, received stolen goods and dealt mainly in clothing, shoes, textiles, foodstuffs, gasoline or tires. With the redeployment of the American troops and the return of the free market, these convenience transactions lost their importance abruptly. The year 1946 marked the last surge of this illicit market. From 1947 to 1949, the traffickers saw the decline of black market traffic and the end of a golden era. Despite local misunderstandings and mutual antipathy, this traffic was phenomenally successful. The civilians and the American servicemen were aware that this opportunity would be brief. However, in 1950, in a very different economic context, the traffic in U.S. Army goods would reappear around the American military bases established as part of NATO
7
Arthéron, Axel. "Les théâtres afro-caribéens d'expression française au XXème siècle face à la Révolution de Saint-Domingue : dramaturgies révolutionnaires et enjeux populaires." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030161.
Анотація:
L’apparition à partir des années 1950 de pièces afro-caribéennes qui mettent en scène la Révolution de Saint-Domingue se révèle pour le moins symbolique. Annoncées par la création de La Tragédie du roi Christophe d’Aimé Césaire par Jean-Marie Serreau et la troupe du Toucan, ces expressions théâtrales contribueront à définir un genre théâtral à part entière - celui du théâtre révolutionnaire afro-caribéen d’expression française - possédant ses propres traits définitoires et catégoriels, ses codes d’écriture, son rapport à l’histoire ou aux personnages historiques, et surtout sa finalité, sa fonction politique et populaire. L’articulation entre le choix du théâtre, le thème politique de la Révolution de Saint-Domingue et les enjeux de la deuxième moitié du XXe siècle constituera l’emblème du théâtre historique révolutionnaire tout à la fois politique et populaireThe appearance in the 50’ of afro-Caribbean’s pieces setting up the Dominican Revolution proves to be symbolic. Announced by the creation of La Tragedie du Roi Christophe from Aimé Césaire by Jean-Marie Serreau and the Toucan Troupe, these theatricals expressions will go towards defining a proper theatrical type- possessing his own characteristics, his writing codes, his connection with history and historical characters, and above all, his purpose, his finality : his political and popular function. The articulation between the choice of theater, the political theme of the Dominican Revolution and the stakes of the second half of the 20th Century will constitute the insignia of the historical revolutionary theater, both political and popular
8
Shango, Lokoho Tumba. "Roman et écriture de l'espace en Afrique (noire) francophone." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1998. http://books.google.com/books?id=sZxcAAAAMAAJ.
9
Murdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.
Анотація:
This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.
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Cain, Anthony Christopher. "Neither decadent, nor traitorous, nor stupid : the French Air Force and air doctrine in the 1930s /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu148819515435815.
Книги з теми "French noir":
1
Buss, Robin. French film noir. London: M. Boyars, 1994.
2
Rolls, Alistair, and Deborah Walker. French and American Noir. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825.
3
Deforges, Régine. Noir tango. Paris, France: Fayard, 1993.
4
Laye, Camara. L' Enfant noir: Visages de l'Afrique noire. Paris: Hatier, 1992.
5
Ernaux, Annie. L'atelier noir. Paris]: Busclats, 2011.
6
1941-, Barcelo François, Blais Marie-Claire, and Truand André, eds. Montréal noir. Montréal: 400 coups, 2003.
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Major, Françoise. Dans le noir jamais noir: Nouvelles. Montréal, Québec: La Mèche, 2013.
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Major, Françoise. Dans le noir jamais noir: Nouvelles. Montréal (Québec): La Mèche, 2015.
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Noguez, Dominique. Amour noir: Roman. [Paris]: Gallimard, 1997.
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Rochon, Esther. L'archipel noir. Beauport, Québec: Alire, 1999.
Частини книг з теми "French noir":
1
Rolls, Alistair. "Liberation Noir: Boris Vian and the Série Noire (1)." In French and American Noir, 30–49. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_3.
2
Rolls, Alistair. "Allegorical Noir: Boris Vian and the Série Noire (2)." In French and American Noir, 50–71. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_4.
3
Rolls, Alistair, and Deborah Walker. "Introduction." In French and American Noir, 1–5. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_1.
4
Walker, Deborah. "From Honest Thief to Media Sociopath." In French and American Noir, 168–83. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_10.
5
Walker, Deborah. "Double-Crossings: Reversing the Remake." In French and American Noir, 184–99. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_11.
6
Rolls, Alistair, and Deborah Walker. "Erratum." In French and American Noir, E1. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/9780230244825_12.
7
Rolls, Alistair. "Fetishistic Noir: Charles Baudelaire and Léo Malet." In French and American Noir, 6–29. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_2.
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Rolls, Alistair. "Noir Strangulation (1): Terry Stewart and Vernon Sullivan." In French and American Noir, 72–93. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_5.
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Rolls, Alistair. "Noir Strangulation (2): Amélie Nothomb and Intertextuality." In French and American Noir, 94–114. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_6.
10
Walker, Deborah. "Jazz: Classic French Film Noir as Transatlantic Exchange." In French and American Noir, 115–31. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244825_7.
Тези доповідей конференцій з теми "French noir":
1
Zammit, Sarah-Jane. "Notre-Dame as the Memory of Paris: Hugo, the Historical Novel and Conservation." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5050pxtvl.
Анотація:
Controversies surrounding the restoration and representation of the narrative and memory of Notre-Dame de Paris are not new. The latest debates remind us that the building has been at the centre of conservation controversies since the nineteenth century. But why is Notre-Dame de Paris central to these debates? The answer appears to lie in its function as a mnemonic device for Paris and the French nation. This paper focuses on the four literary pieces published by Victor Hugo in the period between 1823 and 1832 – ‘Le Bande Noir’ (‘The Black Band’), ‘Note sur la Destruction des Monuments en France’ (‘Note on the Destruction of Monuments in France’), ‘Guerre aux Démolisseurs!’ (‘War on the Demolishers!’) and Notre-Dame de Paris (also known as The Hunchback of Notre-Dame). Through an analysis of these four texts, the paper will attempt to understand Hugo’s convictions about the role of buildings – especially Notre-Dame de Paris – in establishing the memory of the city and the nation, and how these in turn underpinned his arguments for conservation. Whilst these texts were all written in a period before the development of key contemporary concepts in the psychology and neuroscience of memory, this paper nevertheless uses the concepts of memory, imagination and Mental Time Travel to try to understand the kind of memory work that the Cathedral performs, and that Hugo suggests it performs in his writing. By examining how Hugo’s literature augmented and engaged the reader’s memory and imagination of the past, this paper will explain how Hugo romanticised the idea that the building was a witness to history. The paper ultimately argues that Hugo positioned Notre-Dame de Paris not only as the centrepiece in his own fiction, but as a beacon of memory for Paris and France, and as such the building came to represent Paris, and indeed the nation as a whole.
2
SOLCAN, Angela. "Heterogeneity of the class and differentiated teaching of the French language." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p219-226.
Анотація:
To teach a foreign language means to teach students to communicate both orally and in written form in this language. In order to achieve the proposed goals, the teacher must take into account that there are no students with an absolutely identical progression. Their interests, needs and way of learning may be similar, but differ depending on different factors. Students use in their self-training process various learning techniques. There are no two students who possess the same repertoire of behavior, and the same level of performance. The motivation in attaining the goals is also different. In this sense, differentiated teaching gives the teacher the opportunity to identify the heterogeneity of the class and respond to this diversity.
3
IBRAHIM, Ulfet. "Translating socio-political texts from French into Azerbaijani: challenges and subtleties." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p261-264.
Анотація:
"Translating" means identifying and overcoming obstacles, solving problems, making choices, in short, finding the best possible solution. The translation of socio-political texts is one of the most difficult challenges likely to arise in the life of a translator. This research asks the following questions: How to translate political texts? What subtleties and particularities should be taken into account when translating socio-political texts from French into Azerbaijani? What are the means available to the translator, but also above all what linguistic skills will he have to call on to translate political texts as well as possible? But if translating a political text is a strong gesture and an interesting issue, it is also a challenge strewn with difficulties: the task is as difficult as the text is ambitious and complex at the base.
4
SAVA, Anastasia. "Strategies for professional training of students in the study of the French language." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p232-236.
Анотація:
The professional training of students is a current problem in the context of the awareness of the need to transform and reposition the initial training of teaching staff in the perspective of capitalizing on multiple resources to make this process more efficient. The new paradigm of learning based on skills and methods that emphasize analysis, synthesis, problem solving are paramount in the professional training process of students, this becoming an interactive act of knowledge, based on communication, on intelligent learning with the use of ICT tools. The preparation of students in the study of the French language requires the use of methods and techniques for capturing students’ attention, motivation, creativity, analysis, synthesis, discovery of information and its processing for the development of oral communication and creative thinking in French.
5
Carnevali, J. "Venezuela Nor-Oriental: Exploracion en Frente de Montaña." In 3rd Simposio Bolivariano - Exploracion Petrolera en las Cuencas Subandinas. European Association of Geoscientists & Engineers, 1988. http://dx.doi.org/10.3997/2214-4609-pdb.114.003.
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AVORNICЕSĂ, Natalia. "Praxeological perspectives of literature at the a2 level in the teaching of french as a foreign language in the Republic of Moldova." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p237-241.
Анотація:
Literature in foreign language teaching offers new cultural and linguistic dimensions with the appearance of the Complementary Volume of the CEFR in 2018. The praxeological perspectives of literature at A2 level are illustrated by the approach of different language activities and the development of specific skills according to the National Curriculum for Foreign Languages of the Republic of Moldova. Literary exploration at A2 level aims tasks with titles of works, names of authors, biographical elements, book covers, etc. The final didactic perspective in the language class derives from the point of view of the teacher on the National Curriculum, the manual and his personal approach.
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CELPAN-PATIC, Natalia. "Pedagogical translation in grammar class as a remedial tool." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p242-249.
Анотація:
The teaching/learning of French as a foreign language is no longer like before, it has become an educational process that focuses on the needs of learners, giving particular importance to their difficulties encountered during learning. Indeed, the teacher tries to lend a hand to his students through „remediation”. The latter plays a very important role in regulating the learner’s shortcomings and improving their performance by overcoming the shortcomings identified during an assessment made by the teacher. In this work, we opted for a grammar/ translation methodology for effective self-correction. That is to say, use translation to perfect the language learned and put it at the service of learning it. We insist in our study on the usefulness of pedagogical translation in the remediation of grammatical errors and linguistic interferences.
8
COPACINSCHI, Angela. "The delimitation between functional and semantic transposition." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p255-260.
Анотація:
The purpose of this study was to establish knowledge about the use of the adjective and especially their relationship to different types of transposition. This is what we hope to have done based on the corpus of references and examples provided. It follows from these observations that at least the relational adjective category is akin to their semantic-pragmatic traits, particularly their ability to subcategorize. Being the form of a system of actions, a process, an attitude, a strategy, a goal to be solved or a formative level to be achieved, a means of improvement, research scientific is still current. At the empirical stage an attempt has been made to clarify the questions of the relationship between the adjective and the adverb, the adverb and the noun, the mechanism of the transposition of these parts of discourse into the French, Romanian and Italian languages.
9
BOUVET AGNELLI, Cécile. "Prioritizing repairs using risk analysis and its application to masonry structures." In IABSE Conference, Copenhagen 2018: Engineering the Past, to Meet the Needs of the Future. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/copenhagen.2018.290.
Анотація:
French public bridge managers mainly use visual evaluation of bridges and retaining walls to detect the needs for repairs. However, for some structures it may be necessary to conduct more detailed studies before really knowing how degraded a structure is. Managers do not have time nor budget to study deeply every structures and need an easy screening method to evaluate which bridges they need to focus on. For some other structures, visual inspection gives a good appraisal of the structural condition. However, the set of bridges needing to be repaired is too extensive and managers need to prioritize those bridges using other elements than structural condition. This paper deals with the development of a methodology aimed at prioritizing bridges using risk analysis. It must be scientifically relevant but also easy to use for bridge managers. In this paper, we will present how this methodology is developed and the different application guides for specific structures.
10
Arnold, J. F., G. Tremouliere, N. Langlois, and H. Chafouk. "Fuzzy Controller Without Feed-Forward for the Air System of a Diesel Engine." In ASME 2006 Internal Combustion Engine Division Spring Technical Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/ices2006-1381.
Анотація:
A new strategy based on a fuzzy multi-variable controller is proposed to regulate both the fresh airflow and the intake manifold pressure. The air system controller requires neither an internal model nor certain feed-forward maps. Taking only into account standard engine measurements, it is intrinsically robust and very easy to tune with respect to strategies proposed in literature. The results obtained with this controller are compared to those of current embedded controllers.