Empire alone cannot contain the range of the exoticist imaginary in French fiction cinema of the 1930s. Rogues, Romance, and Exoticism in French Cinema of the 1930s proposes a critical framework for exoticist cinema that subsumes and exceeds colonial territory, analyzing the recurring figures, common settings, major stars, key plot devices, and narrative outcomes that dominated exoticist cinema at its popular peak.
Empire alone cannot contain the range of the exoticist imaginary in French fiction cinema of the 1930s. Rogues, Romance, and Exoticism in French Cinema of the 1930s proposes a critical framework for exoticist cinema that subsumes and exceeds colonial territory, analyzing the recurring figures, common settings, major stars, key plot devices, and narrative outcomes that dominated exoticist cinema at its popular peak.
Colleen Kennedy-Karpat is Academic Director of the graduate programme in Media and Visual Studies at Bilkent University, Turkey. She co-edited The Sustainable Legacy of Agnès Varda (Bloomsbury, 2022). Other essays on Varda have appeared in MAI, Camera Obscura, Short Film Studies, and the forthcoming Handbook to Agnès Varda (Bloomsbury, ed. G. Vincendeau & M. Harrod). Her monograph Rogues, Romance, and Exoticism in French Cinema of the 1930s (2013) won the NeMLA Book Award.
Inhaltsangabe
CONTENTS Acknowledgments Exoticism in 1930s France: The Colonial and Beyond PART ONE: Men Outside the Mainstream Chapter 1: Jean Gabin, le cafard, and Western Solidarity La Bandera (1935): Cultural Cohesion and Colonial Mercenaries Pépé le Moko (1937) and the Multiethnic Exotic Le Messager (1937): Failure to Adapt Chapter 2: Assimilation Anxiety and Rogue Colons Men Who Stayed Too Long El Guelmouna, marchand de sable (1931): Rivalry (and Russians) in Rural Algeria Amok (1934): Cultural Readmission at All Costs L'Esclave blanc (1936): Segregationist Parable PART TWO: Romancing the Exotic Chapter 3: Tragedy and Triumph for Interracial Love Caïn, aventure des mers exotiques (1930) and Baroud (1932): Lasting Love in the Colonies Le Simoun (1933) and Yamilé sous les cèdres (1939): Triumph, Tragedy, Responsibility Women's Agency and Exoticist Romance Chapter 4: Métissage and Cultural Repatriation La Dame de Malacca (1937): European Frog, Exotic Prince (Re)claiming French Identity in La Maison du Maltais (1938) L'Esclave blanche (1939): A Westerner in the Harem Redefining Exoticist Romance PART THREE: France Imagines the Far East Chapter 5: Shanghai Fantasies and the Geishas of Joinville Mollenard (1938) and Le Drame de Shanghaï (1938): Exiled in (and from) the East Yoshiwara (1936) and La Bataille (1934): Lovers and Fighters in the Land of the Rising Sun Chapter 6: Sessue Hayakawa's French Resurrection, 1936-1939 Forfaiture (1937): A Legend Revised, a Legacy Reborn Patrouille blanche (1939/1942): Bringing the Other Back Home Macao, l'enfer du jeu (1939/1942): The Exotic Father Exoticism in Transition L'Homme du Niger (1940): Patriotism and Paternalism in Africa Malaria (1943): Imperial Stasis Descendants of Interwar Exoticism from Decolonization to the New Century Annotated Filmography Bibliography Index
CONTENTS Acknowledgments Exoticism in 1930s France: The Colonial and Beyond PART ONE: Men Outside the Mainstream Chapter 1: Jean Gabin, le cafard, and Western Solidarity La Bandera (1935): Cultural Cohesion and Colonial Mercenaries Pépé le Moko (1937) and the Multiethnic Exotic Le Messager (1937): Failure to Adapt Chapter 2: Assimilation Anxiety and Rogue Colons Men Who Stayed Too Long El Guelmouna, marchand de sable (1931): Rivalry (and Russians) in Rural Algeria Amok (1934): Cultural Readmission at All Costs L'Esclave blanc (1936): Segregationist Parable PART TWO: Romancing the Exotic Chapter 3: Tragedy and Triumph for Interracial Love Caïn, aventure des mers exotiques (1930) and Baroud (1932): Lasting Love in the Colonies Le Simoun (1933) and Yamilé sous les cèdres (1939): Triumph, Tragedy, Responsibility Women's Agency and Exoticist Romance Chapter 4: Métissage and Cultural Repatriation La Dame de Malacca (1937): European Frog, Exotic Prince (Re)claiming French Identity in La Maison du Maltais (1938) L'Esclave blanche (1939): A Westerner in the Harem Redefining Exoticist Romance PART THREE: France Imagines the Far East Chapter 5: Shanghai Fantasies and the Geishas of Joinville Mollenard (1938) and Le Drame de Shanghaï (1938): Exiled in (and from) the East Yoshiwara (1936) and La Bataille (1934): Lovers and Fighters in the Land of the Rising Sun Chapter 6: Sessue Hayakawa's French Resurrection, 1936-1939 Forfaiture (1937): A Legend Revised, a Legacy Reborn Patrouille blanche (1939/1942): Bringing the Other Back Home Macao, l'enfer du jeu (1939/1942): The Exotic Father Exoticism in Transition L'Homme du Niger (1940): Patriotism and Paternalism in Africa Malaria (1943): Imperial Stasis Descendants of Interwar Exoticism from Decolonization to the New Century Annotated Filmography Bibliography Index
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