New directions in contemporary French comedies: from nation, sex and class to ethnicity, community and the vagaries of the postmodern
New directions in contemporary French comedies: from nation, sex and class to ethnicity, community and the vagaries of the postmodern
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当代法国喜剧的新方向：从国家、性别和阶级到种族、社区和后现代的变幻莫测
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发表时间：
2018
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通讯作者：
P. Powrie
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作者：
Mary Harrod;P. Powrie
喜剧，就像许多国家电影院的情况一样，是法国电影中最主要的类型之一，如果不是最主要的，正如Raphaëlle Moine所显示的（2014,233 - 234）。就观众人数而言，喜剧现在比以前更受欢迎。例如，自2000年以来，法国喜剧在法国的畅销书排行榜上占据主导地位，如表1所示，表1给出了自2000年以来27部最畅销的电影。在2000 - 2007年期间，表1中18部畅销书中只有6部法国喜剧，占三分之一（排名11、25、26、47、57、59），而从2008-2014年开始，9部法国电影中有6部是喜剧（排名2、3、19、51、68、96），占三分之二。这相当于从上半年法国观众总数的39%到2008年以来最畅销电影的惊人72%的转变。然而，令人惊讶的是，虽然有许多关于法国电影类型的咖啡桌或流行书籍，如明星传记，但迄今为止很少有主要的学术著作。关于类型的一般作品倾向于关注好莱坞喜剧，偶尔也会向法国喜剧明星致敬，例如奥利维尔·蒙金对这一类型的反思，其中包括一些关于雅克·塔蒂和路易斯·德·富尼特斯的作品（蒙金2002年）。关于这种类型的导演的学术专著很少。有一篇关于皮埃尔·科隆比耶的论文，他活跃于20世纪20年代和30年代，是主要喜剧明星的导演，如乔治·弥尔顿（1930年）、雷穆（1933年）、塞斯·桑塔伊尔先生（1933年）和themeurs de la sant<s:1>（1933年）、费南德尔（1937年）（比奈2003年），还有几篇关于让·皮埃尔·莫基（Le Roy 2000年；pr<s:1> 1988年）作品的标准介绍。但到目前为止，关于格姆拉德•乌里、让•玛丽•波伊瓦尔或弗朗西斯•韦贝尔这些20世纪80年代及以后最成功的法国喜剧导演，还没有什么实质性的内容。近年来仅有的两部关于法国电影喜剧的主要作品都是由英语国家的学者完成的：r<s:1>米·兰佐尼的广泛介绍（2014）和玛丽·哈罗德对浪漫喜剧最近发展的深入研究（2015）。除了我们在介绍中提到的Raphaëlle Moine的一些重要文章外，法国学者还没有关于当代发展的重要文章。为什么会出现这种情况并不难理解。喜剧，比任何其他类型的电影都要“糟糕”，是一个低标准刻板印象的储存库，以及从中积累的潜在罪恶快感的来源，这似乎很难证明是正确的。在法国尤其如此，评论界直到最近才对导演电影比流行类型更感兴趣。正如Moine在她关于类型的书（2005,66-85）中所指出的那样，无论一个人是否采取法兰克福学派的立场——喜剧和所有类型一样，主要是为了维持现状——或者一个人是否采取受lassivi - strauss对神话的分析启发的立场——喜剧，像其他类型一样，表达和调和社会和文化紧张关系——这两种立场，表面上是对立的，都是为了中和异议，当观众毫无疑问地接受有问题的表现时，让不良物品灌输萨特式的恶意。正如莫因所说，人们可能感受到的罪恶感来自于这样一个事实，即喜剧“授权了一种简单的反文化行为，而不是一种危险的社会行为”（79）。
Comedy, as is the case with many national cinemas, is one of the most dominant genres, if not the most dominant, in French cinema, as Raphaëlle Moine has shown (2014, 233–234). Comedies are even more popular now than they used to be in terms of spectator numbers. Since 2000, for example, French comedies have dominated the best-seller list in France, as can be seen in Table 1, which gives the 27 best-selling films since 2000.1 In the period 2000–2007 there were only 6 French comedies out of the 18 best-sellers in Table 1, representing a third (positions 11, 25, 26, 47, 57, 59), while from 2008–2014 6 out of 9 French films are comedies (positions 2, 3, 19, 51, 68, 96), representing two-thirds. This corresponds to a shift from a 39% share of the total number of French spectators in the first half of the period to an astonishing 72% of the best-selling films since 2008. And yet, surprisingly, while there are many coffee-table or popular books on the genre in French cinema, such as biographies of stars, there is as yet very little major academic work. General works on genre tend to focus on Hollywood comedies, occasionally with some nods to French comic stars, for example Olivier Mongin’s reflection on the genre which includes some work on Jacques Tati and Louis de Funès (Mongin 2002). There are few academic monographs on directors associated with the genre. There is a thesis on Pierre Colombier, active during the 1920s and 1930s, and director of major comic stars such as Georges Milton in Le Roi des resquilleurs (1930), Raimu in Ces messieurs de la Santé (1933) and Théodore et Cie (1933), and Fernandel in Ignace (1937) (Binet 2003), and a couple of standard introductions to the work of Jean-Pierre Mocky (Le Roy 2000; Prédal 1988). But there is as yet nothing substantial on Gérard Oury, JeanMarie Poiré or Francis Veber, directors of some of the most successful French comedies of the 1980s and beyond. The only two major works on French film comedy in recent times are both by Anglophone academics: Rémi Lanzoni’s broad introduction (2014) and Mary Harrod’s in-depth study of the recent development of the romcom (2015a). With the exception of some essential articles by Raphaëlle Moine, which we refer to in this introduction, there is as yet nothing major by French academics on contemporary developments. It is not difficult to understand why this is the case. Comedy, more than any other genre, is a ‘bad object’, a repository of low-denominator stereotypes and the source of the potentially guilty pleasure accruing from them that appears to be difficult to justify critically. This is particularly the case in France, where the critical establishment has until recently been more interested in auteur cinema than popular genres. As Moine has argued in her book on genre (2005, 66–85), whether one adopts the position of the Frankfurt School – that comedies like all genres function principally to maintain the status quo – or whether one adopts the position inspired by Lévi-Strauss’s analysis of myth – that comedy, like other genres, functions to express and reconcile social and cultural tensions – these two positions, antithetical in appearance, both operate to neutralise dissent, allowing bad objects to inculcate Sartrean bad faith as the audience unquestioningly accepts questionable representations. As Moine says, the guilty pleasure one may feel emerges from the fact that comedy ‘autorise un plaisir contre-culturel sans générer de danger social’2 (79).