Phil Powrie
Biographic Data
| ID | 955559 |
|---|---|
| NAME | Phil Powrie |
| GIVEN NAMES | Phil |
| FAMILY NAME | Powrie |
| SIGNATURE | POWRIE P |
| AFFILIATIONS | Newcastle University |
| ORCID | 0000-0002-6720-1865 |
| VERIFIED | Yes |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 21 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1988 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 2 |
La Musique de film en France: Courants, spécificités, évolutions
La Musique de film en France: courants, spécificités, évolutions." Modern & Contemporary France, 26(2), pp. 222–223
Toi, c’est moi (1936) and Prends la route (1937): Mobilising desire in the operetta films of Jacques Pills and André Tabet
Operetta films were one of the most popular film genres in France during the 1930s through to the 1950s. Some films were film versions of stage shows, others were made specifically for cinema. Jacques Pills and André Tabet formed a successful male duo in the 1930s, and made two largely forgotten but successful operetta films. Toi, c’est moi/You are Me (René Guissart, 1936) was originally a stage operetta, while their follow-up Prends la route/On …
Bicultural Literature and Film in French and English
The French musical: Swing and Big Bands in the cinema of the 1940s and 1950s
The musical is generally considered to be a major Hollywood genre in ways that, with the exception of Bollywood, it is not for other national cinemas. Although the Hollywood musical has been in decline since the 1960s, it appears to have had a resurgence around the turn of the millennium, with films such as Moulin Rouge (Baz Luhrmann, 2001), Chicago (Rob Marshall, 2002), and the Bollywood crossover Bride and Prejudice (Gurinder Chadha, 2004). 1 T…
Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative
This paper considers two very different 1960s adaptations of the Carmen narrative − 1-2-3-4 ou Les Collants noirs (1962) and Carmen 63 (1963) − to show how they articulate common social and political concerns. The first of these, common to many of the Carmen films, is the fear of women’s increasing independence, linked to the development of the post-war consumer culture. The second is a converging concern with the Algerian War, hidden deep in the…
Pierre Batcheff and Stardom in 1920s French Cinema
Pierre Batcheff and stardom in 1920s French cinema
This is the first major study of French silent cinema star Pierre Batcheff, a prominent popular cinema actor in the 1920s.
The Haptic Moment: Sparring with Paolo Conte in Ozon's 5x2
This article is a close analysis of a popular song by the Italian singer-songwriter Paolo Conte, 'Sparring Partner', in Ozon's film [Formula: see text] (2004). With particular reference to what Barthes called the 'grain' of the voice, the article shows how the song does not work anempathetically, cutting across characters and narrative and undermining them; nor does it work empathetically to support the characters or reflect their emotions in a s…
The lover
This chapter presents seven films in which Pierre Batcheff starred during a very busy three-year period (1926–1928) when ten films appeared. In these seven films, Batcheff is always the lover (as he is in all his films), often a foreigner (Russian, Corsican, ‘Silistrian’) or placed in a foreign location (the ‘tropics’, Africa), usually from the upper class (aristocrat, baron, prince) or highly successful in his career (an engineer, an aviator, a …
Unfamiliar places: Heterospection' and recent French films on children
In 2002, two French films about children were released within two weeks of each other. Although Être et avoir (Nicolas Philibert, released 28 August) was a documentary focusing on a village school, and Les Diables (Christophe Ruggia, released 11 September) was a drama about two institutionalized children on the run, they had in common the fact that they focused on pre-adolescent children. While there are plenty of films about adolescents in most …
The W/hole and the Abject
The w/hole and the abject'The subject is constituted through the force of exclusion and abjection, one which produces a constitutive outside to the subject, an abjected outside, which is, after all, 'inside' the subject as its own founding repudiation
Bleu, blanc, rouge: Masochism and the Distinction between Verbal and Visual Automatism
French Cinema in the I990s: Continuity and Difference
Following on from Phil Powrie's French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity (Clarendon Press, 1997), this collection of essays, which brings together scholars in the UK and the USA, is the first on French films in the 1990s. The collection focuses on continuity with the 1980s in terms of genres and preoccupations, such as definitions of a national cinema, the heritage film, gay/lesbian issues, and ethnic issues. But it als…
French cinema in the 1990s: Continuity and Difference : Essays
Heritage, history and ‘new realism’: French cinema in the 1990s
A number of key events in the 1990s have helped shape the decade's cinema. The first of these is the conjuncture of the GATT negotiations (culminating in 1993) and the ascendancy of heritage cinema to mainstream dominance in French production at the expense of popular genres such as comedy and the polar. The second is the attempted return of the auteur through the influential 1994 television series ‘Tous les garçons et les filles de leur âge’. Fi…
Masculinity in the shadow of the slashed eye: Surrealist film criticism at the crossroads
Ten years on: Mauvais sang and the crisis of masculinity
Lesbian speculations on/in Colette's Claudine Married
Configurations of Melodrama: Nostalgia and Hysteria in Jean De Florette and Manon Des Sources 1
CONFIGURATIONS OF MELODRAMA: NOSTALGIA AND HYSTERIA IN JEAN DE FLORETTE AND MANON DES SOURCES1 Get access PHIL POWRIE PHIL POWRIE UNIVERSITY OF NEWCASTLE UPON TYNE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XLVI, Issue 3, July 1992, Pages 296–305, https://doi.org/10.1093/fs/XLVI.3.296 Published: 01 July 1992
Sexuality in Swann in Love
Men in feminism
A womb of one's own: The metaphor of the womb-room as a reading-effect in texts by contemporary French women writers
Automatic Writing: Breton, Daumal, Hegel
Journal Article AUTOMATIC WRITING: BRETON, DAUMAL, HEGEL Get access PHIL POWRIE PHIL POWRIE NEWCASTLE UPON TYNE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XLII, Issue 2, April 1988, Pages 177–193, https://doi.org/10.1093/fs/XLII.2.177 Published: 01 April 1988
Unfamiliar places: Heterospection' and recent French films on children
In 2002, two French films about children were released within two weeks of each other. Although Être et avoir (Nicolas Philibert, released 28 August) was a documentary focusing on a village school, and Les Diables (Christophe Ruggia, released 11 September) was a drama about two institutionalized children on the run, they had in common the fact that they focused on pre-adolescent children. While there are plenty of films about adolescents in most …
Heritage, history and ‘new realism’: French cinema in the 1990s
A number of key events in the 1990s have helped shape the decade's cinema. The first of these is the conjuncture of the GATT negotiations (culminating in 1993) and the ascendancy of heritage cinema to mainstream dominance in French production at the expense of popular genres such as comedy and the polar. The second is the attempted return of the auteur through the influential 1994 television series ‘Tous les garçons et les filles de leur âge’. Fi…
The Haptic Moment: Sparring with Paolo Conte in Ozon's 5x2
This article is a close analysis of a popular song by the Italian singer-songwriter Paolo Conte, 'Sparring Partner', in Ozon's film [Formula: see text] (2004). With particular reference to what Barthes called the 'grain' of the voice, the article shows how the song does not work anempathetically, cutting across characters and narrative and undermining them; nor does it work empathetically to support the characters or reflect their emotions in a s…
A womb of one's own: The metaphor of the womb-room as a reading-effect in texts by contemporary French women writers
Automatic Writing: Breton, Daumal, Hegel
Journal Article AUTOMATIC WRITING: BRETON, DAUMAL, HEGEL Get access PHIL POWRIE PHIL POWRIE NEWCASTLE UPON TYNE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XLII, Issue 2, April 1988, Pages 177–193, https://doi.org/10.1093/fs/XLII.2.177 Published: 01 April 1988
Men in feminism
A womb of one's own: The metaphor of the womb-room as a reading-effect in texts by contemporary French women writers
Sexuality in Swann in Love
Configurations of Melodrama: Nostalgia and Hysteria in Jean De Florette and Manon Des Sources 1
CONFIGURATIONS OF MELODRAMA: NOSTALGIA AND HYSTERIA IN JEAN DE FLORETTE AND MANON DES SOURCES1 Get access PHIL POWRIE PHIL POWRIE UNIVERSITY OF NEWCASTLE UPON TYNE Search for other works by this author on: Oxford Academic Google Scholar French Studies, Volume XLVI, Issue 3, July 1992, Pages 296–305, https://doi.org/10.1093/fs/XLVI.3.296 Published: 01 July 1992
Lesbian speculations on/in Colette's Claudine Married
Ten years on: Mauvais sang and the crisis of masculinity
Heritage, history and ‘new realism’: French cinema in the 1990s
A number of key events in the 1990s have helped shape the decade's cinema. The first of these is the conjuncture of the GATT negotiations (culminating in 1993) and the ascendancy of heritage cinema to mainstream dominance in French production at the expense of popular genres such as comedy and the polar. The second is the attempted return of the auteur through the influential 1994 television series ‘Tous les garçons et les filles de leur âge’. Fi…
Masculinity in the shadow of the slashed eye: Surrealist film criticism at the crossroads
French Cinema in the I990s: Continuity and Difference
Following on from Phil Powrie's French Cinema in the 1980s: Nostalgia and the Crisis of Masculinity (Clarendon Press, 1997), this collection of essays, which brings together scholars in the UK and the USA, is the first on French films in the 1990s. The collection focuses on continuity with the 1980s in terms of genres and preoccupations, such as definitions of a national cinema, the heritage film, gay/lesbian issues, and ethnic issues. But it als…
French cinema in the 1990s: Continuity and Difference : Essays
Bleu, blanc, rouge: Masochism and the Distinction between Verbal and Visual Automatism
The W/hole and the Abject
The w/hole and the abject'The subject is constituted through the force of exclusion and abjection, one which produces a constitutive outside to the subject, an abjected outside, which is, after all, 'inside' the subject as its own founding repudiation
The lover
This chapter presents seven films in which Pierre Batcheff starred during a very busy three-year period (1926–1928) when ten films appeared. In these seven films, Batcheff is always the lover (as he is in all his films), often a foreigner (Russian, Corsican, ‘Silistrian’) or placed in a foreign location (the ‘tropics’, Africa), usually from the upper class (aristocrat, baron, prince) or highly successful in his career (an engineer, an aviator, a …
Unfamiliar places: Heterospection' and recent French films on children
In 2002, two French films about children were released within two weeks of each other. Although Être et avoir (Nicolas Philibert, released 28 August) was a documentary focusing on a village school, and Les Diables (Christophe Ruggia, released 11 September) was a drama about two institutionalized children on the run, they had in common the fact that they focused on pre-adolescent children. While there are plenty of films about adolescents in most …
The Haptic Moment: Sparring with Paolo Conte in Ozon's 5x2
This article is a close analysis of a popular song by the Italian singer-songwriter Paolo Conte, 'Sparring Partner', in Ozon's film [Formula: see text] (2004). With particular reference to what Barthes called the 'grain' of the voice, the article shows how the song does not work anempathetically, cutting across characters and narrative and undermining them; nor does it work empathetically to support the characters or reflect their emotions in a s…
Pierre Batcheff and Stardom in 1920s French Cinema
Pierre Batcheff and stardom in 1920s French cinema
This is the first major study of French silent cinema star Pierre Batcheff, a prominent popular cinema actor in the 1920s.
Algeria and Women in Two 1960s Film Adaptations of the Carmen Narrative
This paper considers two very different 1960s adaptations of the Carmen narrative − 1-2-3-4 ou Les Collants noirs (1962) and Carmen 63 (1963) − to show how they articulate common social and political concerns. The first of these, common to many of the Carmen films, is the fear of women’s increasing independence, linked to the development of the post-war consumer culture. The second is a converging concern with the Algerian War, hidden deep in the…
The French musical: Swing and Big Bands in the cinema of the 1940s and 1950s
The musical is generally considered to be a major Hollywood genre in ways that, with the exception of Bollywood, it is not for other national cinemas. Although the Hollywood musical has been in decline since the 1960s, it appears to have had a resurgence around the turn of the millennium, with films such as Moulin Rouge (Baz Luhrmann, 2001), Chicago (Rob Marshall, 2002), and the Bollywood crossover Bride and Prejudice (Gurinder Chadha, 2004). 1 T…
Bicultural Literature and Film in French and English
La Musique de film en France: Courants, spécificités, évolutions
La Musique de film en France: courants, spécificités, évolutions." Modern & Contemporary France, 26(2), pp. 222–223
Toi, c’est moi (1936) and Prends la route (1937): Mobilising desire in the operetta films of Jacques Pills and André Tabet
Operetta films were one of the most popular film genres in France during the 1930s through to the 1950s. Some films were film versions of stage shows, others were made specifically for cinema. Jacques Pills and André Tabet formed a successful male duo in the 1930s, and made two largely forgotten but successful operetta films. Toi, c’est moi/You are Me (René Guissart, 1936) was originally a stage operetta, while their follow-up Prends la route/On …
Art (19 works) · Cinema and Media Studies (10 works) · Art history (9 works) · Sociology (9 works) · French Historical and Cultural Studies (7 works) · History (7 works) · Gender Studies (6 works) · Humanities (6 works) · Literature (6 works) · Movie theater (6 works)