By Ginette Vincendeau
French cinema has produced a considerable galaxy of stars to accomplish global status of their nationwide motion pictures. this can be an research of the phenomenon of French stardom. It presents in-depth experiences of the foremost well known stars of French cinema: Max Linder, Jean Gabin, Brigitte Bardot, Louis de Funes, Jeanne Moreau, Catherine Deneuve, Alain Delon, Jean-Paul Belmondo, Gerard Depardieu, and Juliette Binoche. It explores the celebs' photographs and function types within the context of the French movie undefined, and with regards to French tradition and society. It additionally examines the strangely shut courting among French movie stars and nationwide id, in a rustic the place Brigitte Bardot and Catherine Deneuve have modelled for Marianne (the effigy of the Republic) and the place Jean Gabin has been visible as a job version through left-wing politicians.
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Extra info for Stars and Stardom in French Cinema: In-Depth Studies of Brigitte Bardot, Jeanne Moreau, Jean-Paul Belmondo, Alain Delon, Juliette Binoche, and More
His work then evolved into more sophisticated narratives and film techniques with extended jokes and moments of 'surreal' humour. In Max prend son bain (1910), he struggles to carry an incongruous bathtub in the street, and (anticipating Keaton) attempts to fill it with ridiculously tiny containers, before moving it to the landing where there is a tap and having a bath in full view of his neighbours. Forced out by the police, he walks on all fours with the bathtub on his back, like some outlandish insect.
Up to the 1940s, actors automatically straddled mainstream and auteur film, because the films themselves did. For instance, directors such as Jean Renoir and Rene Clair, the greatest names of the 1930s, made films that followed their own agendas but also appealed to large audiences (for example, Clair's Quatorze juillet and Renoir's La Grande illusion}. Not coincidentally, these films featured major stars (respectively, Annabella and Gabin). In the late 1940s and in the 1950s, during the heyday of French mainstream cinema (when audiences peaked at 400 million annual spectators in 1957), stardom was more closely linked to genre and big-budget vehicles.
True, but equally and especially in the case of Bouquet and Paradis, the process of advertising cosmetics has become as important in the formation of the image of the star as the films themselves. It might be 38 Stars and Stardom in French Cinema argued, in fact, that the process works more in reverse, the glamour from Saint-Laurent and Dior reflecting back on the filmic image, because the products are far more widely available throughout the world (as images in magazines and as commodities) than the films.