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Eloquent Fragments - French Fiction Film and Globalization

Eloquent Fragments - French Fiction Film and Globalization French Fiction Film and Globalization Nottingham Trent University I will begin this piece with two contradictory observations that I will later try to reconcile.1 The first is that neoliberal globalization is deeply resistant to representation within the framework of conventional fiction. The second is that, following its much trumpeted return to the real in the 1990s, French cinema could not avoid figuring the consequences of that same capitalist globalization. Reconciliation of this paradox will lead to the suggestion that French (or rather Franco-Belgian) cinema has above all focused on the fragments left behind once globalization has passed through the social terrain. But, far from producing a satisfactory solution, this reconciliation only opens onto a dilemma. How can a cinema of fragments speak productively of what has happened at the systemic scale? The dilemma, it will be suggested, can be addressed in different ways, each with its own effectiveness, but also with its limitations that are not intrinsic to cinema but indicative of the broader political lack of an overarching language of opposition. Defying Representation I will now explain the first of my two contradictory observations, namely that capitalist globalization defies representation. The suggestion here is that capitalism’s ability http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png French Politics, Culture & Society Berghahn Books

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