French Cinema in the 1990s: Continuity and Difference (review)

Book Reviews Phil Powrie, ed. French Cinema in the 1990s: Continuity and Difference. Oxford, UK: Oxford UP, 1999. Pp. xv + 286. $24.95. Weathering critical disapproval and competition from Hollywood throughout the 1990s, French national cinema nevertheless broadened its audience through a sustained dialogue of diversity and tradition. While television and new media threatened the global film market, French filmmakers responded to these threats by focusing on a national, albeit occasionally fantastic, dialectic. Examining a broad range of films within a socio-political context, French Cinema in the 1990s: Continuity and Difference offers an excellent compilation of essays on contemporary French culture. Films such as "La Haine," "Indochine," "Ridicule" and Kieslowski's "Trois Couleurs" pulled in box office profits and engaged global audiences while treating important issues of the decade. Traditionally, French cinema has maintained a social awareness, reflecting topical as well as historical issues. Powrie's compilation of essays is structured around three themes pertinent to France during the 1990s. The essays address historical memory, ethnic diversity within France and the question of nationalism within an increasingly unified Europe. Powrie's general introduction contextualizes the historical moment in which these films were first exhibited. Before launching into the 1990s, he explores the dominant trends of French films in the 1980s: heritage cinema and the "cinema du look." While the "cinema du look" presented a "critical debate" that waned by the early 1990s, Powrie asserts that heritage films emerge as the "hegemonic French cinema of the 1990s." Nevertheless, in 1993 the popularity of the heritage film could not combat the gargantuan force of Hollywood. Providing a case example, Powrie and Russell Cousins address the role of national cinema and economical politics at play in 1993. While the producers of "Germinal" hoped to steer audiences away from "Jurassic Park," GATT negotiations struggled over "cultural exceptions." The French government lobbied for an exception to be made within the GATT agreement for audiovisual industries due to their strong link to national identity, which distinguishes them from other export/import industries. The question of finance continues to cause anxiety for French filmmakers. As Studio Canal becomes a global player, financing hits such as "Bridget Jones's Diary" and David Lynch's "MuIholland Drive," will they continue to support experimental and provocative features? Today these questions are quelled by the success of features such as "Amélie," and "With a Friend Like Harry..." However, in the 1990s, the fear of losing clout in the international market forced filmmakers to interrogate traditional genres, not only to compete globally, but also to maintain the relevance of a national cinema. Myrto Konstantarakos, Carrie Tarr and Graeme Hayes celebrate the fragmentation and oppositional perspectives offered in films such as "La Haine" and "Les Amants du Pont Neuf." Working to expand the national self-image, these two films are emerging as canonical films of this era. Furthermore, attention should be rightfully paid to essays that focus on lesser-known films. Examining Assayas's "Irma Vep," Paul Sutton highlights the subtle layers of economic and nationalist tension that permeate the politics of remaking classic films. Likewise , Elizabeth Ezra lifts "Chacun cherche son chat" from a light-hearted comedy to an insightful case study on urban development. At its best moments, this collection celebrates the efforts of 1990s filmmakers who used their craft as a forum against intolerant political legislation directed at French immigrant populations. Lauren LeBlanc Dartmouth College 136 Spring 2002 ...