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Carolyn A. Durham - Double Takes: Culture and Gender in French Films and Their American Remakes (Contemporary French Culture and Society)

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title Double Takes Culture and Gender in French Films and Their American - photo 1

title:Double Takes : Culture and Gender in French Films and Their American Remakes Contemporary French Culture and Society
author:Durham, Carolyn A.
publisher:University Press of New England
isbn10 | asin:0874518733
print isbn13:9780874518733
ebook isbn13:9780585238142
language:English
subjectMotion picture remakes, Motion pictures--France, Motion pictures--United States, Sex role in motion pictures.
publication date:1998
lcc:PN1995.9.R45D87 1998eb
ddc:791.43/75/0944
subject:Motion picture remakes, Motion pictures--France, Motion pictures--United States, Sex role in motion pictures.
Page i
Double Takes:
Culture and Gender in French Films and Their American Remakes
CAROLYN A. DURHAM
Dartmouth College / Published by University Press of New England / Hanover and London
Page ii
Contemporary French Culture and Society
edited by
Richard J. Golsan,
Mary Jean Green,
and
Lynn A. Higgins
Page iii
Page iv Darmouth College University Press of New England Hanover NH - photo 2
Page iv
Darmouth College
University Press of New England, Hanover, NH 03755
1998 by the Trustees of Dartmouth College
All rights reserved
Printed in the United States of America
5 4 3 2 1
CIP data appear at the end of the book
Publication of this work was supported in part by a grant from The Henry Luce III Fund for Distinguished Scholarship at the College of Wooster.
Page v
To Jennifer, Kathryn, and John
Page vii
Contents
List of Illustrations
ix
Acknowledgments
xi
Introduction: Disneyland Comes Home to Paris
1
Comic Strips and Cultural Stereotypes: Alain Resnais's I Want to Go Home
25
Jim McBride's "Breathless in L.A.": Remaking Jean-Luc Godard's Narrative of Gender
49
Three Takes on Motherhood, Masculinity, and Marriage: Serreau's Original, Nimoy's Remake, and Ardolino's Sequel
70
At the Franco-American Crossroads of Gender and Culture: Where Feminism and Sexism Intersect
91
Jean-Charles Tacchella's and Joel Schumacher's Kissing Cousins: In/Fidelity in Family and Film
114
Other Ways of Looking: Re-Visions of Feminism and Film Theory in Francois Truffaut's and Blake Edwards's The Man Who Loved Women
141
Conclusion: Contemporary French-to-American Comedy or the Compulsion to Compare
175
Notes
205
Works Cited
221
Films Cited
231
Index
237

Page ix
Illustrations
The invasion of France by American movies (Montparnasse movie marquee)
6
Disneyland comes home to Paris (subway poster)
23
Joey and Hepp Cat arrive in Paris (I Want to Go Home)
27
Jean Seberg's direct stare into the camera challenges filmic codes of gendered behavior (A Bout de souffle)
62
Mireille ignores Jean-Pierre, the dragueur (French in Action)
110
David's (Burt Reynolds) post-earthquake discovery (The Man Who Loved Women)
154
Charles Denner's physical appearance contrasts with that of his American counterpart (L'Homme qui aimait les femmes)
172

Page xi
Acknowledgments
I am grateful to the College of Wooster for supporting research leaves in 199091 and 199596, which allowed me to complete much of the research and the initial writing that led to this book, and for providing additional funding from the Henry Luce III Fund for Distinguished Scholarship to enable me to do necessary research in Parish and to help me purchase some of the book's illustrations. I want to thank my colleagues and students for the many ways in which they have challenged and encouraged my thinking and my scholarship. In particular, I thank my student assistants, Chris Becker and Ken Walczak, who patiently helped me track down references and resources, and my students in three successive classes of "Comparative Sexual Poetics," whose careful reading, interesting writing, and thoughtful discussions stimulated my own thinking about literature and film.
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