Marianne Kac-Vergne
Biographic Data
| ID | 5395550 |
|---|---|
| NAME | Marianne Kac-Vergne |
| GIVEN NAMES | Marianne |
| FAMILY NAME | Kac-Vergne |
| SIGNATURE | KAC-VERGNE M |
| AFFILIATIONS | Université d'Artois |
| ORCID | 0000-0001-9800-7515 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 16 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
The Invisibility of the Black Working Class in Early Films (1890s-1930s)
This article explores the historical invisibility of the Black working class in early American cinema, focusing on Pennsylvania between the 1890s and 1930s. Drawing on African American studies, film studies and labor studies, it examines how films from this period reinforced racialized conceptions of the working class by excluding or distorting the image of Black laborers. From Siegmund Lubin’s racially coded comedies to the race film The Scar of…
Can action heroines age? The return of Sarah Connor in Terminator
International audience
David Roche, Meta in Film and Television Series
Meta In Film and Television by David Roche proposes to “disentangle” the concept of “meta” which originates from “metafiction” or “metanarrative”. The term has been shortened in contemporary language to describe forms of reflexivity that many young people recognize as “So meta!”, particularly in the context of audiovisual fictions.In his preface, Roche explains how his essay aims to expand existing theories related to concepts such as “metafilm” …
« Shots in mirrors »
Dans Shots in the Mirror (2000), Nicole Rafter mettait en évidence l’intérêt d’inclure des miroirs dans les films criminels et surtout, elle y décrivait ce genre cinématographique comme un miroir de la société, considérant l’objet physique et son caractère métaphorique. Le miroir est un objet surexploité au cinéma et en littérature, dont la présence rarement anodine, pousse à en interpréter le sens symbolique. L’adaptation de No Country For Old M…
Table ronde « Arts visuels
La table ronde consacrée à l’état de la science en arts visuels, intitulée « Études de genre et audiovisuel dans les Amériques », a été animée par Marianne Bloch-Robin (Sorbonne Université, CRIMIC) pour le domaine hispanophone et par Marianne Kac-Vergne (Université de Picardie Jules Verne, CORPUS) pour le domaine anglophone avec la participation de quatre intervenant·es (deux enseignant·es chercheur·es et deux doctorant·es) : Alberto Da Silva (So…
Making sense of historical and diegetic time (and space) in No Country for Old Men (novel to film)
Making sense of historical and diegetic time (and space) in No Country for Old Men (novel to film)
L’adaptation par Joel and Ethan Coen (2007) du roman de Cormac McCarthy paru en 2005, No Country for Old Men , est construite sur une représentation complexe de l’espace et du temps. L’œuvre se déroule dans le Texas occidental en 1980, mais fait également référence à la Frontière à travers les ruminations du sheriff Bell au sujet de ses ancêtres, les paysages iconiques du western et un réseau de signifiants bien connus. Des allusions à la guerre …
Le féminisme au secours des franchises de science-fiction
Cet article examine en quoi l’appel au féminisme permet de renouveler des franchises de science-fiction en berne dans un contexte de résurgence d’un féminisme devenu « populaire » (Banet-Weiser, 2018). Ghostbusters (Feig, 2016) et Mad Max : Fury Road (Miller, 2015) participent de cette féminisation des franchises puisqu’ils mettent en avant des protagonistes femmes qui dominent la narration. Au-delà de la visibilité accrue donnée aux femmes, les …
Carter Burwell’s Contribution to “the Coen touch”
Composer Carter Burwell started his career in cinema on the Coen Brothers’ first film Blood Simple (1984) and made the soundtracks of all their films so far, except Inside Llewyn Davis (2013). A journalist went so far as to call him “the third Coen brother” (Greiving, NPR, 2016), which in fact reflects both the professional and the spiritual connections that have developed throughout the last thirty-six years between the three men. Sorting the Co…
“Gambling and women don’t mix”
A metaphorical expression of the myth of the American Dream, gambling — institutionalized in casinos or illegal in underground circles — soon became a fixture of masculine film genres such as westerns and gangster films. As a rule, gambling movies, regardless of their genre, are male-driven films, leaving only secondary parts to female protagonists who usually fall into three categories: good luck charms/helpers (The Cooler, 21), trouble-makers (…
Kim Wilkins, American Eccentric Cinema
In American Eccentric Cinema, Kim Wilkins offers to define and decipher the eccentric mode in American cinema, a very challenging effort that deserves praise in itself. First, because the existing theoretical framework is dense and growing, which complicates any attempt at building on it. Wilkins's corpus of films is indeed already encompassed in a certain number of theories that she had to carefully consider before unfolding her own. Second, bec…
Masculinity in Contemporary Science Fiction Cinema
De l’importance de la culture pour repenser le langage féministe
Montrant comment la question de la culture a été une partie importante non seulement de la vie des femmes mais aussi des récits de la nation, du langage et de la politique dans le contexte indien, cet essai milite pour l’étude des éléments particuliers qui forment les modernités de l’Asie et des traductions qui participent à modeler les idées, les descriptions et les pratiques y afférant. Centré sur la relation entre le genre et la culture, l’art…
Les frères Coen, cinéastes indépendants
The Coen Brothers have been labeled as independent filmmakers ever since they started their career in the middle of the 1980s, and are still considered independent today in spite of their frequent collaborations with the Hollywood studios. This status, quite uncommon in Hollywood, of “emancipated” directors, is made clear through their aesthetic and, to a lesser extent, ideological independence. Their position as directors/producers/screenwriters…
La violence comme contrôle social des femmes
Archined est l’archive ouverte institutionnelle et la base patrimoniale des publications, communications et autres travaux scientifiques produits par les chercheur.e.s, y compris les chercheur.e.s associé.e.s, et ingénieur.e.s de l’Ined
Losing Visibility? The Rise and Fall of Hypermasculinity in Science Fiction Films
Science fiction films of the 1980s, including The Terminator and RoboCop, seem to foreground hypermasculinity as a new ideal of masculinity, relying on the display and promotion of muscular white male bodies. However, the films also highlight the negative aspects of hypermasculinity, embodied especially by the Terminator, the terrifying antagonist of the first film of the franchise. Already in the 1980s, hypermasculinity was indeed associated wit…
No prominent works on this page.
Losing Visibility? The Rise and Fall of Hypermasculinity in Science Fiction Films
Science fiction films of the 1980s, including The Terminator and RoboCop, seem to foreground hypermasculinity as a new ideal of masculinity, relying on the display and promotion of muscular white male bodies. However, the films also highlight the negative aspects of hypermasculinity, embodied especially by the Terminator, the terrifying antagonist of the first film of the franchise. Already in the 1980s, hypermasculinity was indeed associated wit…
La violence comme contrôle social des femmes
Archined est l’archive ouverte institutionnelle et la base patrimoniale des publications, communications et autres travaux scientifiques produits par les chercheur.e.s, y compris les chercheur.e.s associé.e.s, et ingénieur.e.s de l’Ined
Les frères Coen, cinéastes indépendants
The Coen Brothers have been labeled as independent filmmakers ever since they started their career in the middle of the 1980s, and are still considered independent today in spite of their frequent collaborations with the Hollywood studios. This status, quite uncommon in Hollywood, of “emancipated” directors, is made clear through their aesthetic and, to a lesser extent, ideological independence. Their position as directors/producers/screenwriters…
De l’importance de la culture pour repenser le langage féministe
Montrant comment la question de la culture a été une partie importante non seulement de la vie des femmes mais aussi des récits de la nation, du langage et de la politique dans le contexte indien, cet essai milite pour l’étude des éléments particuliers qui forment les modernités de l’Asie et des traductions qui participent à modeler les idées, les descriptions et les pratiques y afférant. Centré sur la relation entre le genre et la culture, l’art…
Masculinity in Contemporary Science Fiction Cinema
“Gambling and women don’t mix”
A metaphorical expression of the myth of the American Dream, gambling — institutionalized in casinos or illegal in underground circles — soon became a fixture of masculine film genres such as westerns and gangster films. As a rule, gambling movies, regardless of their genre, are male-driven films, leaving only secondary parts to female protagonists who usually fall into three categories: good luck charms/helpers (The Cooler, 21), trouble-makers (…
Kim Wilkins, American Eccentric Cinema
In American Eccentric Cinema, Kim Wilkins offers to define and decipher the eccentric mode in American cinema, a very challenging effort that deserves praise in itself. First, because the existing theoretical framework is dense and growing, which complicates any attempt at building on it. Wilkins's corpus of films is indeed already encompassed in a certain number of theories that she had to carefully consider before unfolding her own. Second, bec…
Le féminisme au secours des franchises de science-fiction
Cet article examine en quoi l’appel au féminisme permet de renouveler des franchises de science-fiction en berne dans un contexte de résurgence d’un féminisme devenu « populaire » (Banet-Weiser, 2018). Ghostbusters (Feig, 2016) et Mad Max : Fury Road (Miller, 2015) participent de cette féminisation des franchises puisqu’ils mettent en avant des protagonistes femmes qui dominent la narration. Au-delà de la visibilité accrue donnée aux femmes, les …
Carter Burwell’s Contribution to “the Coen touch”
Composer Carter Burwell started his career in cinema on the Coen Brothers’ first film Blood Simple (1984) and made the soundtracks of all their films so far, except Inside Llewyn Davis (2013). A journalist went so far as to call him “the third Coen brother” (Greiving, NPR, 2016), which in fact reflects both the professional and the spiritual connections that have developed throughout the last thirty-six years between the three men. Sorting the Co…
Table ronde « Arts visuels
La table ronde consacrée à l’état de la science en arts visuels, intitulée « Études de genre et audiovisuel dans les Amériques », a été animée par Marianne Bloch-Robin (Sorbonne Université, CRIMIC) pour le domaine hispanophone et par Marianne Kac-Vergne (Université de Picardie Jules Verne, CORPUS) pour le domaine anglophone avec la participation de quatre intervenant·es (deux enseignant·es chercheur·es et deux doctorant·es) : Alberto Da Silva (So…
Making sense of historical and diegetic time (and space) in No Country for Old Men (novel to film)
Making sense of historical and diegetic time (and space) in No Country for Old Men (novel to film)
L’adaptation par Joel and Ethan Coen (2007) du roman de Cormac McCarthy paru en 2005, No Country for Old Men , est construite sur une représentation complexe de l’espace et du temps. L’œuvre se déroule dans le Texas occidental en 1980, mais fait également référence à la Frontière à travers les ruminations du sheriff Bell au sujet de ses ancêtres, les paysages iconiques du western et un réseau de signifiants bien connus. Des allusions à la guerre …
« Shots in mirrors »
Dans Shots in the Mirror (2000), Nicole Rafter mettait en évidence l’intérêt d’inclure des miroirs dans les films criminels et surtout, elle y décrivait ce genre cinématographique comme un miroir de la société, considérant l’objet physique et son caractère métaphorique. Le miroir est un objet surexploité au cinéma et en littérature, dont la présence rarement anodine, pousse à en interpréter le sens symbolique. L’adaptation de No Country For Old M…
David Roche, Meta in Film and Television Series
Meta In Film and Television by David Roche proposes to “disentangle” the concept of “meta” which originates from “metafiction” or “metanarrative”. The term has been shortened in contemporary language to describe forms of reflexivity that many young people recognize as “So meta!”, particularly in the context of audiovisual fictions.In his preface, Roche explains how his essay aims to expand existing theories related to concepts such as “metafilm” …
Can action heroines age? The return of Sarah Connor in Terminator
International audience
The Invisibility of the Black Working Class in Early Films (1890s-1930s)
This article explores the historical invisibility of the Black working class in early American cinema, focusing on Pennsylvania between the 1890s and 1930s. Drawing on African American studies, film studies and labor studies, it examines how films from this period reinforced racialized conceptions of the working class by excluding or distorting the image of Black laborers. From Siegmund Lubin’s racially coded comedies to the race film The Scar of…
Art (11 works) · Cinema and Media Studies (8 works) · Sociology (7 works) · Humanities (6 works) · Art history (4 works) · Literature (4 works) · Movie theater (4 works) · Aesthetics (3 works) · Hollywood (3 works) · Physics (3 works)