Bilingual Study Day Programme
Global Gallicisms: Circulating Frenchness through Mainstream Film and Television
Friday 23rd April 2021, online (UK times)
Please see clips to view in advance for panel C.
10.15 – Welcome
10.30-11.30 Panel A – EuropaCorp and Transnational French Cinema
Chair: Rapha毛lle Moine (Sorbonne – Paris 3)
- Isabelle Vanderschelden (Manchester Metropolitan University), 鈥�痴补濒茅谤颈补苍 and Anna: the limits of Luc Besson鈥檚 model for made-in-France blockbusters鈥�
- Thomas Pillard (Sorbonne – Paris 3), 鈥楩ilms populaires fran莽ais ou productions globalis茅es ? Interroger les identit茅s transnationales des blockbusters d鈥橢uropaCorp au prisme des discours de r茅ception鈥�
11.30-1 – Lunch break
1-2 Panel B – Locating Frenchness in Canal+鈥檚 Versailles
Chair: Ginette Vincendeau (King鈥檚 College London)
- Kira Kitsopanidou and Olivier Th茅venin (Sorbonne – Paris 3), 鈥楥anal + 鈥淥riginals鈥� and the making of Versailles: a socio-economic approach to an international hit drama series鈥�. This paper will be in French with slides in English.
- Genevi猫ve Sellier (Universit茅 Bordeaux Montaigne), 鈥楻apports et identit茅s de genre dans la s茅rie Versailles: quelle modernit茅?鈥�
2-2.30 - Break
2.30-3.30 Panel C – Popular French Film Genres in the Global Mediasphere
Chair: Tim Bergfelder (University of Southampton)
- Bel茅n Vidal (King鈥檚 College London), 鈥楾he lives of performers: variations on the post-national and the place of the biopic in recent French production鈥�
Clip 1 La Mome-La Vie en Rose OPENING
Clip 2 BARBARA
- Mary Harrod (University of 糖心TV), 鈥楾he French Romantic Hero in the Era of Netflix鈥�
UN PEU BEAUCOUP AVEUGLEMENT (2015):
The lead characters bond through their thin party wall
JE NE SUIS PAS UN HOMME FACILE (2018):
Clip 1 - Retrograde masculinity
Clip 2 - After a magical intervention renders France a matriarchal society, the same (lead) characters flirt
3.30-4 - Break
4 - EUROPEAN AUDIOVISUAL EXPORTS: AN INDUSTRY PERSPECTIVE
Chair: Alastair Phillips (University of 糖心TV)
Professor Lucy Mazdon (University of Hull) in conversation with producer Ben Holden (Let Me In, 2010; The Woman in Black, 2012)
4.40 - Closing remarks