11 British Audiences and 1990s French New Realism: La Vie Rêvée des Anges as Cinematic Slum Tourism

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Illustrations vii
4. List of Tables viii
5. Acknowledgements ix
6. Introduction. Franco-British Cinematic Relations: An Overview 1
7. Part I: Industry and Institutions
8. 1 The Exhibition, Distribution and Reception of French Films in Great Britain during the 1930s 19
9. 2 The ‘Cinematization’ of Sound Cinema in Britain and the Dubbing into French of Hitchcock’sWaltzes from Vienna (1934) 37
10. 3 Une Entente Cordiale? – A Brief History of the Anglo-French Film Coproduction Agreement, 1965–1979 51
11. 4 Channel-crossing Festivals: The Cases of the French Film Festival U.K. and Dinard’s Festival du Film Britannique 67
12. 5 The Language of Love? How the French Sold Lady Chatterley’s Lover (Back) to British Audiences 81
13. Part II: Reception and Perceptions
14. 6 Disciplining the Nouvelle Vague: Censoring A Bout de Souffle and Other Early French New Wave Films (1956–1962) 103
15. 7 The Reception of the Nouvelle Vague in Britain 117
16. 8 ‘New Waves, New Publics?’: The Nouvelle Vague, French Stars and British Cinema 127
17. 9 Mirror Image: French Reflections of British Cinema 141
18. 10 ‘Incredibly French’?: Nation as an Interpretative Context for Extreme Cinema 153
19. 11 British Audiences and 1990s French New Realism: La Vie Rêvée des Anges as Cinematic Slum Tourism 169
20. Part III: Personnel and Performance
21. 12 ‘The Meaning of That French Word Chic’: Annabella’s Franco-British Stardom 185
22. 13 ‘Those Frenchies Seek Him Everywhere’: David Niven in Franco-British Cinematic Relations 197
23. 14 Truffaut in London 211
24. 15 Jane Birkin: From English Rose to French Icon 223
25. 16 The French Resistance Through British Eyes: From ’Allo ’Allo! to Charlotte Gray 237
26. 17 ‘In the Ghetto’: Space, Race and Marginalization in French and British ‘Urban’ Films La Haine and Bullet Boy 255
27. Notes on Contributors 269
28. Index 273