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  • Acknowledgments  vii
    Introduction: The Aesthetic Doxa on the New Wave  1
    1. A New Generation Marked by the Emergence of Women  11
    2. Cinephilia in the 1950s  22
    3. Auteur Cinema: An Affair of State  34
    4. Contrasting Receptions  41
    5. The Precursors  70
    6. Between Romanticism and Modernism  95
    7. Nostalgia for a Heroic Masculinity  128
    8. The Women of the New Wave: Between Modern and Archaic  145
    9. Jeanne Moreau: Star of the New Wave and Icon of Modernity  184
    10. Brigitte Bardot and the New Wave: An Ambivalent Relationship  199
    11. The Independent Filmmakers of the Left Bank: A "Feminist" Alternative  210
    Conclusion: The New Wave's Legacy: "Auteur Cinema"  221
    Appendix One: Box Office Results  225
    Appendix Two: The Press  227
    Notes  231
    Bibliography  245
    Index  253
  • “Thanks to this unwavering translation, Geneviève Sellier’s bracing exposé has stripped the New Wave of its stylish attire to reveal an unappealing male body. Vigilant and determined, she has trolled a sea of French criticism to net her evidence.”—Dudley Andrew, Yale University — N/A

    “This remarkable book will change readers’ view of New Wave cinema. Geneviève Sellier approaches this key movement in French cinema from an original perspective, developing a nuanced yet incisive argument about the links between masculinity, auteurism, and filmic representations.”—Ginette Vincendeau, author of Jean-Pierre Melville: An American in Paris — N/A

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  • Description

    Masculine Singular is an original interpretation of French New Wave cinema by one of France’s leading feminist film scholars. While most criticism of the New Wave has concentrated on the filmmakers and their films, Geneviève Sellier focuses on the social and cultural turbulence of the cinema’s formative years, from 1957 to 1962. The New Wave filmmakers were members of a young generation emerging on the French cultural scene, eager to acquire sexual and economic freedom. Almost all of them were men, and they “wrote” in the masculine first-person singular, often using male protagonists as stand-ins for themselves. In their films, they explored relations between men and women, and they expressed ambivalence about the new liberated woman. Sellier argues that gender relations and the construction of sexual identities were the primary subject of New Wave cinema.

    Sellier draws on sociological surveys, box office data, and popular magazines of the period, as well as analyses of specific New Wave films. She examines the development of the New Wave movement, its sociocultural and economic context, and the popular and critical reception of such well-known films as Jules et Jim and Hiroshima mon amour. In light of the filmmakers’ focus on gender relations, Sellier reflects on the careers of New Wave’s iconic female stars, including Jeanne Moreau and Brigitte Bardot. Sellier’s thorough exploration of early New Wave cinema culminates in her contention that its principal legacy—the triumph of a certain kind of cinephilic discourse and of an “auteur theory” recognizing the director as artist—came at a steep price: creativity was reduced to a formalist game, and affirmation of New Wave cinema’s modernity was accompanied by an association of creativity with masculinity.

    About The Author(s)

    Geneviève Sellier is Professor of Film Studies at the University of Caen. Her books include Jean Grémillon: Le cinéma est à vous and La Drôle de guerre des sexes du cinéma français, 1930–1956 (with Noël Burch). Kristin Ross is Professor of Comparative Literature at New York University. She is the author, most recently, of May ’68 and Its Afterlives and Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture.

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