Screenwriters have been central figures in French cinema since the conversion to sound, from early French-language talkies for the domestic market to lavish literary adaptations of the notorious ‘quality tradition’ of the 1950s, and from the ‘aesthetic revolution’ of the New Wave to the contemporary popular and auteur film in the 2000s. The first English language study to address screenwriters in French cinema, this volume will be of particular interest to scholars and students of French film and screenwriting. Taking a diachronic approach, it includes case studies drawn from the early sound period to the present day in order to offer an alternative historiography of French cinema, shed light on these overlooked figures and revisit the vexed question of film authorship.
Table of Content
Introduction 1 Charles Spaak: dramaturge and
mauvais esprit 2 Jacques Prévert: from reluctant author to screenwriter as myth 3 Henri Jeanson: spectacular dialogue 4 Jean Aurenche and Pierre Bost: writing the ‘tradition of quality’ 5 The screenwriter sacrificed? The ‘screenplays’ of the New Wave auteurs 6
Le cinéma du samedi soir: Michel Audiard’s screenplays and cult dialogue 7 Screenwriting trends in popular comedy 8 Dialogue writing in multicultural France since 2000: exploring the words of young people 9
Réalisa(c)trices screenwriting the self: Noémie Lvovsky, Valeria Bruni Tedeschi, Maïwenn Conclusion Index
About the author
Sarah Leahy is Senior Lecturer in French and Film at Newcastle University Isabelle Vanderschelden is Senior Lecturer in French Studies at Manchester Metropolitan University
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