Cinemamonde Decentred Perspectives On Global Filmmaking In French Michael Gott by Michael Gott, Thibaut Schilt 9781474414999, 9781474444736, 9781474415002, 1474414990, 1474444733, 1474415008 instant download after payment.

The first cinema awards specifically dedicated to internationally produced francophone films were created in 2013, under the supervision of the then Canadian-based Association Trophées Francophones du Cinéma (or ATFciné), with the assistance of filmmakers and organisers of film festivals and national film awards working in Belgium, Senegal, Quebec and France. The initiative behind these film awards is unique in that it brings together a variety of film industries and national cinemas, and is inclusive in its definition of ‘francophone’,1 expanding the geographical limits of what is customarily considered the francophone world and formally recognising an increasing number of films that combine French with many other languages or do not contain any French at all. Such inclusivity has not yet been fully extended to the academic realm, where divisions between French and francophone categories linger. An article entitled ‘Cinéma-monde? Towards a Concept of Francophone Cinema’ by Bill Marshall (2012) represents the most significant and promising step in that direction. In it Marshall calls for increased critical attention to develop the concept of ‘francophone film’ in both French and Film Studies, ‘given the remappings necessary both in relation to the global and transnational turn in analysing film and in rear guard attempts to assert French and other cultural nationalisms that also take place’ (2012: 51). For Marshall, francophone cinema, by decentring French-language cinema studies, ‘dramatically focuses attention on four elements: borders, movement, language, and lateral connections’