<I>La Parisienne</i> in Cinema: Between Art and Life

Awards:   Short-listed for Nominated for the 2018 Richard Wall Memorial Award, honoring books on film and broadcasting 2018 (UK)
Author:   Felicity Chaplin
Publisher:   Manchester University Press
ISBN:  

9781526139535


Pages:   216
Publication Date:   07 May 2019
Format:   Paperback
Availability:   In Print   Availability explained
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<I>La Parisienne</i> in Cinema: Between Art and Life


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Awards

  • Short-listed for Nominated for the 2018 Richard Wall Memorial Award, honoring books on film and broadcasting 2018 (UK)

Overview

Chic, sophisticated, seductive and enigmatic, the Parisienne possesses a je ne sais quoi that makes her difficult to define. But who or what is the Parisienne, and how is she depicted in cinema? The first book-length study on the subject combines scholarship in the fields of art history, literature and fashion to enrich our understanding of this intriguing cinematic figure, simultaneously offering new perspectives on film. Accessible and wide-ranging, it will be of immediate interest to students and researchers working in film studies, French studies and the broader humanities, as well as cinephiles and Francophiles alike. -- .

Full Product Details

Author:   Felicity Chaplin
Publisher:   Manchester University Press
Imprint:   Manchester University Press
ISBN:  

9781526139535


ISBN 10:   1526139537
Pages:   216
Publication Date:   07 May 2019
Audience:   College/higher education ,  Professional and scholarly ,  Tertiary & Higher Education ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

Table of Contents

Introduction: 'What's she like?' 1 Muse 2 Cosmopolite 3 Icon of fashion 4 Femme fatale 5 Courtesan 6 Star Conclusion: 'Look, let's start all over again. What's she like?' Index -- .

Reviews

'In this well-researched and insightful monograph, Felicity Chaplin presents the figure of the Parisienne in cinema between art and life , concentrating on 1950s and 1960s French and Hollywood film. She covers approximately four films per chapter, over six main sections, using Parisienne as both a noun and an adjective, and writing of what she terms the Parisienne-ness of her subjects.This book is a valuable addition to film studies, fashion studies and general cultural studies. The style is engaging, and the research is wide-ranging and thought provoking.' Dervila cooke, Dublin City University, H-France Review Vol. 18 (April 2018), No. 92 ''La Parisienne', as Chaplin explains, stands for an image of the city personified by a female figure. In the mid-nineteenth century, this became synonymous with the figure of an urban woman, an emblem of modernity whose mode of dress expressed her identity. She can be both artist and muse. Her class origins are not fixed: she might come from the demi-monde or the bourgeoiseie. In context, she can embody sexual openness and experimentation, or refined elegance and restraint. In her deft, dense, intriguing book, Chaplin has delineated an area of research; she has also created a space or set of possibilities for studies that can take her project further, deeper, into more specialised areas or specific forms of critical engagement.' Philippa Hawker, Australian Book Review 'Any study of as broad a corpus as is indicated by this book's title is likely to have multiple aims, and Felicity Chaplin's book seems to set itself not just the objective of adding cinema to the list of art forms in which La Parisienne frequently figures and has been studied (painting and drawing), but of using a typically art historical methodology (iconography) to do so. Approving of Alloway's anti-evaluative and implicitly anti-auteurist idea of culture as a continuum, Chaplin introduces her corpus as one that ranges across this continuum. Chaplin's book certainly does extensive impressive groundwork for further studies of the Parisienne figure in cinema.' Kate Ince, University of Birmingham, EuropeNow, Issue 22 (2018) -- .


'In this well-researched and insightful monograph, Felicity Chaplin presents the figure of the Parisienne in cinema between art and life , concentrating on 1950s and 1960s French and Hollywood film. She covers approximately four films per chapter, over six main sections, using Parisienne as both a noun and an adjective, and writing of what she terms the Parisienne-ness of her subjects.This book is a valuable addition to film studies, fashion studies and general cultural studies. The style is engaging, and the research is wide-ranging and thought provoking.' Dervila cooke, Dublin City University, H-France Review Vol. 18 (April 2018), No. 92 ''La Parisienne', as Chaplin explains, stands for an image of the city personified by a female figure. In the mid-nineteenth century, this became synonymous with the figure of an urban woman, an emblem of modernity whose mode of dress expressed her identity. She can be both artist and muse. Her class origins are not fixed: she might come from the demi-monde or the bourgeoiseie. In context, she can embody sexual openness and experimentation, or refined elegance and restraint. In her deft, dense, intriguing book, Chaplin has delineated an area of research; she has also created a space or set of possibilities for studies that can take her project further, deeper, into more specialised areas or specific forms of critical engagement.' Philippa Hawker, Australian Book Review -- .


'In this well-researched and insightful monograph, Felicity Chaplin presents the figure of the Parisienne in cinema between art and life , concentrating on 1950s and 1960s French and Hollywood film. She covers approximately four films per chapter, over six main sections, using Parisienne as both a noun and an adjective, and writing of what she terms the Parisienne-ness of her subjects.This book is a valuable addition to film studies, fashion studies and general cultural studies. The style is engaging, and the research is wide-ranging and thought provoking.' Dervila Cooke, Dublin City University, H-France Review Vol. 18 (April 2018), No. 92 ''La Parisienne', as Chaplin explains, stands for an image of the city personified by a female figure. In the mid-nineteenth century, this became synonymous with the figure of an urban woman, an emblem of modernity whose mode of dress expressed her identity. She can be both artist and muse. Her class origins are not fixed: she might come from the demi-monde or the bourgeoiseie. In context, she can embody sexual openness and experimentation, or refined elegance and restraint. In her deft, dense, intriguing book, Chaplin has delineated an area of research; she has also created a space or set of possibilities for studies that can take her project further, deeper, into more specialised areas or specific forms of critical engagement.' Philippa Hawker, Australian Book Review 'Any study of as broad a corpus as is indicated by this book's title is likely to have multiple aims, and Felicity Chaplin's book seems to set itself not just the objective of adding cinema to the list of art forms in which La Parisienne frequently figures and has been studied (painting and drawing), but of using a typically art historical methodology (iconography) to do so. Approving of Alloway's anti-evaluative and implicitly anti-auteurist idea of culture as a continuum, Chaplin introduces her corpus as one that ranges across this continuum. Chaplin's book certainly does extensive impressive groundwork for further studies of the Parisienne figure in cinema.' Kate Ince, University of Birmingham, EuropeNow, Issue 22 (2018) -- .


Author Information

Felicity Chaplin is Lecturer in Film and Screen Studies and French Studies at Monash University -- .

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