Le cinéma français des années 1990 : Une génération de by René Prédal

By René Prédal

- Une étude portant un regard critique sur l'ensemble de l. a. construction française de los angeles période aussi bien sur les motion pictures dits d'auteurs que sur les productions plus commerciales, plus grand public. 

- Un livre-bilan sur une période très riche de los angeles construction cinématographique nationale

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33 Hoberman, ‘Sacred and Profane’; and Diski, ‘The Shadow Within’. Vieira and Stam, ‘Parody and Marginality’, p. 94. Neale, Genre and Hollywood, p. 39. html. ’, p. 164. Leitch, ‘Twice-Told Tales’, p. 139. See McElwee, ‘Theatrical Re-issues’. Lafferty, ‘Feature Films on Prime-Time Television’, pp. 235–56. Friedberg, Window Shopping. Frow, ‘Intertextuality and Ontology’, p. 45. Iampolski, The Memory of Tiresias, p. 8. , p. 31, emphasis in original. Ibid. , pp. 32–5. Frow, ‘Rev. of Play It Again, Sam’, emphasis added.

These are: 1. shrewd city folks try to swindle Jed Clampett and family out of their fortune; 2. variously inappropriate – corrupt and/or mercenary – suitors come courting for the hand of Jed’s daughter, Elly May; 3. Jed’s moronic nephew, Jethro, tries his hand at various careers, including international spy and brain surgeon; 4. Jed, a widower, meets a potential bride; and 5. 12 While the above description already suggests strong patterns of textual repetition in the US tele-series, it is necessary to make a distinction between, on the one hand, thirty-minute sitcoms like The Beverly Hillbillies and Gilligan’s Island, and on the other hand, sixty-minute actionadventure series like Maverick (ABC, 1957–62), The Fugitive (ABC, 1963–67) and Mission: Impossible (CBS, 1966–73).

51; and Genre and Hollywood, p. 31. Altman, Film/Genre, p. 91. Kolker, ‘Algebraic Figures’, p. 36. Leitch, ‘Twice-Told Tales’, p. 141. Eco, ‘Innovation and Repetition’, pp. 161–84. See Fish, Is There a Text in This Class? Biguenet, ‘Double Takes’, p. 131. Dowell, ‘Rev. of Unforgiven’, p. 72. 34 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160.   Hoberman, ‘Sacred and Profane’, p. 11. Frow, ‘Rev.

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