through their use of “Frenchness” these works allowed filmmakers in both countries the conviction of sharing cinema’s cultural tradition. Chapter 2, “The Cannes Film Festival and the Marketing of Cosmopolitanism,” traces the French festival’s post-war development, complete with press, paparazzi, and stars. Bolstered by France’s longstanding history of investment in cultural cosmopolitanism, Cannes built itself into the premier international venue for screening and marketing films. Hollywood participated willingly, hoping to gain markets and influence; and the American presence, in turn, reinforced French prestige in the international film world. Chapters 3 and 4 analyze two notable elements of the rising international film culture that were promoted through the Cannes Festival and had ramifications in both French and American industries. In “And France Created Bardot” Schwartz examines the case of BB’s new style, international celebrity, locating its origins in press/paparazzi photos that were responsible for transforming her vivacious, sexy spontaneity into a representation of current youth culture. Consequently, Bardot became famous less as a French actress and more as a popular icon of “Frenchness”—a commodity that could be successfully exported internationally, as happened in Et Dieu créa la femme, a film more popular in the United States than in France. “The Cosmopolitan Film: From Around the World in 80 Days to Making Movies Around the World” looks at films, many dreamed up or launched at Cannes, that used a multinational production team to treat subjects, themes, and plots emphasizing transnational rather than national experiences and perspectives. Schwartz’s discussions of specific film images in relation to extra-filmic factors offer highly perceptive readings, for example, the connections she draws between John Huston’s Moulin Rouge and fin-de-siècle French art, or Jean-Luc Godard’s Le mépris and the death of “Frenchness” films, or Cannes photos, celebrity, and the star system. It’s So French contains copious notes, an extensive bibliography, and a generous number of illustrations from a variety of sources. An introduction and conclusion propose a helpful “satellite” view of the territory covered. Quibbles: proof-reading could have been tighter (a couple of passages confuse due to the apparent omission of words), Notre-Dame is consistently spelled with an ô, and a photo identified as a Morris column does not appear to be one. In sum, Schwartz’s work represents a noteworthy addition to the history of international film culture. University of Idaho, emerita Joan M. West Society and Culture edited by Marie-Christine Koop BETANCOURT, INGRID. Même le silence a une fin. Paris: Gallimard, 2010. ISBN 978-2-07012664 -4. Pp. 692. 24,90 a. This is the latest in a series of memoirs that describe the tales of survival of hostages in the Colombian jungle. Abducted by the Revolutionary Armed Forces of Colombia (FARC) while campaigning for president, Ingrid Betancourt endured the horrors of captivity for six and a half years. Her Franco-Colombian citizenship helped her gain international attention and transformed her into “un trophée 376 FRENCH REVIEW 85.2 entre les mains de la guérilla” (274). Betancourt begins with the narration of one of her several failed escapes, running not only from angry guerrillas following her steps but more so from the fatal perils of the jungle: tigers, tarantulas, giant ants, poisonous snakes, rivers infested with anacondas, piranhas, and caimans. After the first chapter, the book continues more or less chronologically with eighty-one short chapters. Through every page readers witness her horrific journey of long forced marches, camps surrounded by barbed fences, and terrifying moments when the hostages find themselves between the FARC’s clutches and the constant bombardment of the Colombian army. Betancourt’s universe is filled with contrasts as she describes her companions, the guerrillas, and the jungle. She portrays her friend and former vice-presidential candidate Clara Rojas as cold and intolerant and refers to her most times as ma compagne, purposely omitting her name. Yet, in other instances, Betancourt writes of tender episodes when they need each other and hold hands. Other contrasts in her relationships with fellow hostages go from romantic encounters and inseparable partnerships with some to profound discord with others. Tensions among them reached the...
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