La saga des cent-mots (French Edition)

French sport was then celebrated in novels, poems, and statues, and it became an important part of French society.

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Sport is also considered as undignified in the French collective imagination. Very far from myth-building, symbols, and an emphasis on the values of sports, French movies reveal distrust toward sports — which can be seen in books by Jean-Marie Brohm and Marc Perelman 47 — as well as toward genre films. Thus, French commentators prefer categorizing boxing films — an American subgenre which experienced somewhat of a golden era in France — as films noirs over sports films.

Moreover, even though movies do often highlight its values, sport does not have a nation-building power , as the French situation calls for identifying to a national identity rather than an identity in the process of being constructed Furthermore, it is difficult to consider soccer as a national pastime , popular though it is, for it was imported for England. If the serial logic as well as the David-against-Goliath duel narrative are to be found in these films, the symbolic dimension of sports — or at least its social function — is often tarnished, as we have seen.

In the absence of any genre logic, there are also only a few intertextual references. But above all, as it is left aside by film enthusiasts, sports predictability is not compatible with films which — for writing purposes — are built on luck as the main source for comedy as well as the best way to reproduce the glorious uncertainty of sports on the big screen.

The former was based on dialogues, while the latter was based on studio-making, settings, scriptwriting, adaptations, and costumes. The last movement was based on a light technical setting and it excluded realism. Once more, this did not allow the recreating and filming of the sports spectacle, which often calls for a heavier setting. As it does not follow a serial logic, and denounces sports and their political use, the French socio-economic and intellectual context does not favor the exploitation of sports films.

The films mentioned above follow a formal approach more than a symbolic one. This explains the different importance granted to sports films in the French and American cultures: The criteria for making these films are diverse. Critics such as Les cahiers du cinema and academic reviews as well as testimonies from actors and spectators bring up a systematic comparison between films and sports broadcasting which always ends up in favor of the latter, as the poetic dimension is not associated with cinema in that regard.

This view was already shared in the s and s when the then-recurring use of game action in film editing was born.

On the contrary, Carpentier shot his own biopic in as early as Le roman de Carpentier before starting his career as an actor once he hung up his gloves, to reenact his making as a boxer. Images of his fights were sometimes edited with images from the films. The French strategy of verismo does not match the genre system as it is linked with symbolism.

Indeed, what makes the value of sports films and also allows to attract audiences other than aficionados — as it is the case with The Endless Summer Bruce Brown, — is the status of sports as an omnibus subject, as Pierre Bourdieu wrote. Therefore, so-called cheerleading films can be categorized within the sports film genre. While French spectators do not find this in films, they do find it in sports reporting, as reporters never miss an opportunity to teach life lessons.

The American film musical.

Indiana University Press, Oxford University Press, Sports in the Movies. Sociological dynamics of sport and exercise. Morton Publishing Company, Aesthetics and Culture in Ireland. An ambivalent look at the fictional sports feature film. The cinema of baseball: Images of America, Baseball in the movies: A comprehensive reference, Sport in Australian Drama. Cambridge University Press, Mille huit cent quatre-vingt-quinze , 61, Presses Universitaires du Septentrion, Social Dimensions Over Time, Sport, Public Culture and American Identity, Baker and John M.

Caroll, Saint Louis, River City, Haney and James J. Clair plays the part of the Minnesota Americans coach, Y. Altman does not cite sports film as a genre, but he mentions boxing films as the product of a genrification process, and baseball and surfing films as minor genres. A set of motor situations; a set of rules, Stakes related to competitiveness; an institutional framework. Thus, this definition implies to be affiliated to a federation — which does not appear in the lucha pelicula — and to be set in the framework of official competitions — which is not to be found in martial art movies.

But, as Lorenz underlines: American baseball teams and stars, movies, magazines, and radio programs, brought Canada close to the USA in the second and third decades of the twentieth century. Fotheringham is very cautious about Australian sports films. He demonstrates that there are few movies dedicated to sport in the Australian film industry — these productions trying to erase the Australian roots from their plots for exportation purposes.

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The most part of the corpus brought up by this author is made of racing movies, which are borderline cases — races are considered as a game more than a sport; see For the sake of the comparison, we shall focus on the USA. For production teams, generic norms provide a welcome template facilitating rapid delivery of quality film products.

Screen-writers increasingly conceive their efforts in relation to the plot formulas and character types associated with regular genres.

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Images of America, Westport: Morton Publishing Company, , among others. Revue d'histoire 26, , Armand Colin, , Authors as well as actors were reluctant to be associated with a single genre for those same reasons. Marc Perelman, Le sport barbare: Scorcese movie and not a boxing movie would be.

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As social psychology showed, the way we categorize things reflects our view on the world. On the other hand, sports only became part of the curricula to complete hygienist goals, even though Republican gym societies were also conveying Patriotic values. Liber, , Her research focuses on sports broadcasting as well as the political, activist discourse within the African-American community and the media representation of minorities. Fields of Dreams and Messages. The Politics of Discourse on the Fields of Dreams. Sports films , France , United States , film genre , sports values.

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