Joe Hardwick
Biographic Data
| ID | 833351 |
|---|---|
| NAME | Joe Hardwick |
| GIVEN NAMES | Joe |
| FAMILY NAME | Hardwick |
| SIGNATURE | HARDWICK J |
| AFFILIATIONS | The University of Queensland |
| ORCID | 0000-0002-8135-1560 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 15 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
On ne naît pas mec. Petit traité féministe sur les masculinités, by Daisy Letourneur
What We Do in the Shadows
Sexual cruising—a practice often associated with men who have sex with other men in public spaces—has been written about from a number of disciplinary perspectives, including literature, literary and cultural studies, queer theory, geography and sociology. However, its representation in cinema is restricted to a small number of films and rarely has cruising in cinema been a focus of critical attention in its own right. This article will look at t…
Un.siting French Studies
Double binds and double movements
Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contra…
The Transnational and the Transformative
The transnational in French cinema has largely been examined in terms of the industry’s relation to Hollywood. This article, through a reading of the French-Israeli coproduction Tu n’aimeras point (2009) by Haim Tabakman, will ask what the transnational means when Hollywood is not in the frame. Three kinds of “trans” will be discussed. The first is how the transnational is read in writing on French cinema. The second is translation: how the film …
Tyrannies of Distance, Perils of Proximity
Distance and proximity: Two concepts which refer to the space, literal or metaphoric, between two things, two beings, two moments in time. The terms mean to stand apart and to be near; yet, the literal and ostensibly spatial nature of the terms quickly yields to their many figural uses. The easy slippage between the literal and metaphoric, the spatial and temporal, means that the two terms, however banal and transparent they may appear at first, …
Reframing the Periphery
This article takes a narratological approach in examining how Mathieu Kassovitz’s La Haine (1995) establishes itself as an authoritative voice in framing the banlieue. It argues that framing is essential in establishing the film’s narrative authority, the idea that it is recounted from a position of experience. To do so, the film juggles two contradictory narrative impulses: a sense of critical distance which propels the film to its finale; and a…
Larry Schehr
Transports privés
If one of the recurrent figures of recent French cinema has been that of the wanderer, what counts as a minor genre within this category are films featuring mobile women. Whereas movies starring males offer a variety of journeys for their displaced heroes, recurrent motifs in the lives of the mobile woman include prostitution, madness and violence. Presenting a different perspective is Claire Denis’s 2002 feature Vendredi soir, which recounts the…
The vague nouvelle and the Nouvelle Vague
One of the commonplaces in critical writing on the 1990s movement known as le jeune cinéma français is the idea that it constituted a new ‘New Wave’. At the same time, the critical reception of the 1990s and 1960s ‘new waves’ could not be more different, with le jeune cinéma français being seen invariably as aesthetically inferior to its 1960s ‘antecedent’. This article examines the two key discursive mechanisms used to link le jeune cinéma franç…
(Rétro)projections
Rules of Engagement
In 1994, the prestigious French film journal Cahiers du cinema featured a six-page article written by journalist Serge Grunberg on the state of the Australian film industry, a relatively rare exten
Soi–disant
This paper explores the construction of identity, particularly with reference to texts (literary, philosophic, popular and cinematic) in French, as an introduction to a volume of papers on the topic. We demonstrate that the papers presented in that collection will show the effects on the reading of the self both of inertia and of deliberate modification with respect to convention. In publishing them as a collection, we make no claims to be unveil…
Bodies That Loiter
Wander Lust
While the road movie has long held a privileged place in Australian cinema, less prevalent, though increasingly present, has been the street movie, which-like its road movie cousin-poses important questions about identity in tracing the trajectory of its wanderer protagonists. The most remarkable recent example of an Australian street movie is Ana Kokkinos's 1997 feature Head On. The film recounts a day in the life of a late adolescent Greek-Aust…
Wander Lust
While the road movie has long held a privileged place in Australian cinema, less prevalent, though increasingly present, has been the street movie, which-like its road movie cousin-poses important questions about identity in tracing the trajectory of its wanderer protagonists. The most remarkable recent example of an Australian street movie is Ana Kokkinos's 1997 feature Head On. The film recounts a day in the life of a late adolescent Greek-Aust…
Soi–disant
This paper explores the construction of identity, particularly with reference to texts (literary, philosophic, popular and cinematic) in French, as an introduction to a volume of papers on the topic. We demonstrate that the papers presented in that collection will show the effects on the reading of the self both of inertia and of deliberate modification with respect to convention. In publishing them as a collection, we make no claims to be unveil…
Bodies That Loiter
Rules of Engagement
In 1994, the prestigious French film journal Cahiers du cinema featured a six-page article written by journalist Serge Grunberg on the state of the Australian film industry, a relatively rare exten
The vague nouvelle and the Nouvelle Vague
One of the commonplaces in critical writing on the 1990s movement known as le jeune cinéma français is the idea that it constituted a new ‘New Wave’. At the same time, the critical reception of the 1990s and 1960s ‘new waves’ could not be more different, with le jeune cinéma français being seen invariably as aesthetically inferior to its 1960s ‘antecedent’. This article examines the two key discursive mechanisms used to link le jeune cinéma franç…
(Rétro)projections
Transports privés
If one of the recurrent figures of recent French cinema has been that of the wanderer, what counts as a minor genre within this category are films featuring mobile women. Whereas movies starring males offer a variety of journeys for their displaced heroes, recurrent motifs in the lives of the mobile woman include prostitution, madness and violence. Presenting a different perspective is Claire Denis’s 2002 feature Vendredi soir, which recounts the…
Larry Schehr
Reframing the Periphery
This article takes a narratological approach in examining how Mathieu Kassovitz’s La Haine (1995) establishes itself as an authoritative voice in framing the banlieue. It argues that framing is essential in establishing the film’s narrative authority, the idea that it is recounted from a position of experience. To do so, the film juggles two contradictory narrative impulses: a sense of critical distance which propels the film to its finale; and a…
Tyrannies of Distance, Perils of Proximity
Distance and proximity: Two concepts which refer to the space, literal or metaphoric, between two things, two beings, two moments in time. The terms mean to stand apart and to be near; yet, the literal and ostensibly spatial nature of the terms quickly yields to their many figural uses. The easy slippage between the literal and metaphoric, the spatial and temporal, means that the two terms, however banal and transparent they may appear at first, …
The Transnational and the Transformative
The transnational in French cinema has largely been examined in terms of the industry’s relation to Hollywood. This article, through a reading of the French-Israeli coproduction Tu n’aimeras point (2009) by Haim Tabakman, will ask what the transnational means when Hollywood is not in the frame. Three kinds of “trans” will be discussed. The first is how the transnational is read in writing on French cinema. The second is translation: how the film …
Double binds and double movements
Twin tales are short on survivors. On the one hand is the threat of implosion; on the other, outsiders can shatter the twin relationship. This fine line is walked by Quentin and Antoine, the protagonists of Pascal Alex Vincent’s Donne-moi la main (2008), who hitchhike from France to Spain to attend their mother’s funeral. Vincent’s film is both a twin tale and a road movie. In this mix, there is the potential for generic conflict since, in contra…
Un.siting French Studies
On ne naît pas mec. Petit traité féministe sur les masculinités, by Daisy Letourneur
What We Do in the Shadows
Sexual cruising—a practice often associated with men who have sex with other men in public spaces—has been written about from a number of disciplinary perspectives, including literature, literary and cultural studies, queer theory, geography and sociology. However, its representation in cinema is restricted to a small number of films and rarely has cruising in cinema been a focus of critical attention in its own right. This article will look at t…
Art (11 works) · Art history (9 works) · History (9 works) · History (9 works) · Cinema and Media Studies (6 works) · Movie theater (6 works) · Sociology (6 works) · French Historical and Cultural Studies (5 works) · Philosophy (5 works) · Philosophy (5 works)