Abstract
Reviews 205 Film edited by MichĂšle BissiĂšre Archer, Neil. The French Road Movie: Space, Mobility, Identity. New York: Berghahn, 2012. ISBN 978-0-85745-770-7. Pp. 192. $70. As of the writing of this review, no full-length book project has been devoted to the road movie genre in France, and in this respect, Archerâs study stands alone. In May 2013, we anticipate a collection of essays on the topic in Open Roads, Closed Borders: The Contemporary French-Language Road Movie (Ed. Gott and Schitt, UP of Chicago). Who has not seen a road movie with protagonists departing, arriving, roaming, wandering place to place? Mostly men in cars, but not always. Characters on the run, with a destination; others just out. Usually, the landscape is American, even for foreign films like Dumontâs 29 Palms. Drawing on the American genre, Archer maps out the road movieâs heritage and legacy and how it has been interpreted in cinema from the Hexagone, complementing recent publications on Australian, Czech, and Euro-American road movies as well as a growing interest in space and identity in Film Studies. He weaves genre definition, detail, and technique into studies both describing and analyzing popular and art house films,such as Les valseuses (1973),Baisemoi (1999), Lâemploi du temps (2001) and Feux rouges (2004). The book is divided into six chapters, introduction and afterword, and includes a hefty filmography and bibliography for both the novice and specialist. Chapters gravitate primarily around one film, though include insightful investigations into commonalities and deviations from a variety of road movies. The strength of The French Road Movie is its inclusiveness and inquiry into the gender dynamics, especially of the female protagonist in a traditionally male-dominated role. In this instance, chapters 4 and 5,âNowhere Men: Masculinity and the Road MovieâandâFrom FlĂąnerie into GlĂąnerie: The Possibilities of aâFeminine Road Movieâ are worth mention. Understanding the road movie landscape as aânonplace /non-lieu,â as does Marc AugĂ©, allows Archer to bring into play the road âless in the service of a conservative re-affirmation of masculinity, than a re-thinking of its shaky foundational status and its position vis-Ă -vis changing societal normsâ (93). This âshaky foundationâ becomes all the more clarified in the study of Lâemploi du temps, which clearly articulates the extent to which places and non-places prescribe personal and societal behaviors, what Archer calls âmodes of beingâ (113). Given the emphasis on this reciprocal relationship between spaces and protagonists, one would anticipate an inquiry into the role of the hitch-hiker in the films included, for example in Feux rouges and Sans toit ni loi; however, this figure is little explored.Any exploration into filmic choices in geographic location has been saved for future publication as well. The strength of Archerâs research is that one comes away with a comprehensive view of the relevance and presence of the road movie in contemporary French cinema, a legacy of both French and American studies into the gendered complexities of the access to, appropriation of, and escape from (non-)place(s). University of North Carolina, Wilmington Michelle Scatton-Tessier Barlet, Olivier. Les cinĂ©mas dâAfrique des annĂ©es 2000. Paris: LâHarmattan, 2012. ISBN 978-2-296-55760-4. Pp. 441. 34,20 a. Dans lâesprit de la collection Images plurielles, Barlet examine la production cinĂ©matographique africaine des douze derniĂšres annĂ©es sans complaisance ni mĂ©pris. Il offre plutĂŽt une critique constructive qui permet Ă la fois aux cinĂ©astes en question ainsi quâaux autres amateurs et professionnels des cinĂ©mas dominants de mieux se connaĂźtre et se comprendre, et surtout de tirer des leçons essentielles et nĂ©cessaires de ces Ă©changes enrichissants. Lâouvrage prĂ©sente une analyse en profondeur de la production africaine rĂ©cente, organisĂ©e en six parties extrĂȘmement dĂ©taillĂ©es et recherchĂ©es. Barlet Ă©tablit tout dâabord le cadre critique dans lequel Ă©voluent les cinĂ©astes et les spectateurs aujourdâhui, pour mettre en lumiĂšre le dĂ©sarroi qui Ă©mane dâune forme artistique ne reflĂ©tant plus les...
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