“Commitment Through the Work of Art,” “Commitment Through the Name”: The Case of French Directors of “Social Films” in the 1990s–2000s

Article
First Online:
  • 137 Downloads

Abstract

What is the commitment of left-leaning artists and intellectuals in a context where the legitimacy of politics and party activism is being called into question? The analysis of the case of the French directors who have made films dealing with social issues in the 1990s–2000s shows the complexity of the boundaries between art and politics and of the possible modes of commitment through their works and/or their name. Some directors who have made one or several films dealing with the working classes in France in this period have been associated with the label “social cinema” by the critic, as well as social scientists or “anti-globalization” activists. Despite the differences in their social and professional backgrounds, they all have in common the rejection of this label, opposing “social cinema” to artistic recognition and carefully distinguishing their artwork from commitment. In order to stabilize their careers and meet professional success, they often have to move from working class issues to more valued topics and from a realistic aesthetic to a more distinguished one. They mostly commit their names for the defence of the “independence of cinema” and for humanitarian causes, rather for more overtly political or partisan issues. More generally, this case study illustrates the forms and repertoires of commitment open to artists and intellectuals in the 1990s–2000s, showing how they try to use their professional skills and resources (including their notoriety) in the service of certain causes without jeopardizing their artistic autonomy, by distancing themselves both from partisan politics and from “commercial cinema.”

Keywords

Commitment Activism Directors Movies Working class 
This is a preview of subscription content, log in to check access.

Notes

Acknowledgements

The author would like to thank Violaine Roussel for having coordinated this issue and Charlotte Ribeyrol and Galina Natchev for their help in translation. She also thanks the CRESPPA-CSU for its financial support for translation.

References

  1. Bantman, B. (1998). Illegal immigrants: the occupation of the Luxembourg Gardens by artists and activists failed. Libération, Saturday, June 6, p. 14.Google Scholar
  2. Bantman, B. (2007). Film directors invite illegal immigrants to the Cannes festival. They demanded and obtained the public viewing of a short film at the festival. Libération, Tuesday, March 6, p. 34.Google Scholar
  3. Becker, H. S. (1988). Les mondes de l’art. Paris: Flammarion. 1st edition published 1982.Google Scholar
  4. Boltanski, L., & Chiapello, È. (1999). Le nouvel esprit du capitalisme. Paris: Gallimard.Google Scholar
  5. Bourdieu, P. (1998). Les règles de l’art. Genèse et structure du champ littéraire. Paris: Éditions du Seuil. 1st edition published 1992.Google Scholar
  6. Breton, E. (2000). Le cinéma, plaque sensible de la société. In É. Breton, M. Guilloux, T. Perron, & J. Roy (Eds.), Cinéma et mouvement social Nous avons tant à voir ensemble (pp. 12–37). Paris: VO Éditions.Google Scholar
  7. Charle, C. (1990). Naissance des “intellectuals”. Paris: Éditions de Minuit.Google Scholar
  8. Collovald, A. (1988). Identité(s) stratégique(s). Actes de la Recherche en Sciences Sociales, 73, 29–40.CrossRefGoogle Scholar
  9. Collovald, A. (Ed.). (2002). L’humanitaire ou le management des dévouements. Enquête sur un militantisme de “solidarité internationale” en faveur du Tiers-Monde. Rennes: PUR.Google Scholar
  10. Collovald, A. (2006). Reconversion et gestion des fidélités: le cas des polars français. In S. Tissot, C. Gaubert, & M.-H. Lechien (Eds.), Reconversions militantes (pp. 193–199). Limoges: PULIM.Google Scholar
  11. Contamin, J.-G. (2005). Le choix des armes: les dilemmes pratiques d’un mouvement de doctorants et le modèle des avantages comparatifs. Genèses, 59, 4–24.Google Scholar
  12. Darré, Y. (2000). Histoire sociale du cinéma français. Paris: La Découverte.Google Scholar
  13. Ferran, P. (1997). Open letter to the film-maker D. Cabrera, who, on October 7, explained in this newspaper why she wasn’t signing the petition against the Chevènement bill. Yes, a massive regularization of the illegal immigrants is needed! Libération, Monday, October 13, p. 10.Google Scholar
  14. Garbarz, F. (1998). ‘La première action politique, c’est d’écouter les gens’ [Interview with B. Tavernier]. Positif, 446, 98–100.Google Scholar
  15. Gobille, B. (2005). Les mobilisations de l’avant-garde littéraire française en mai 1968. Actes de la Recherche en Sciences Sociales, 158(3), 30–61.Google Scholar
  16. Guilloux, M. (2000). Tours et détours de France. In É. Breton, M. Guilloux, T. Perron, & J. Roy (Eds.), Cinéma et mouvement social Nous avons tant à voir ensemble (pp. 78–109). Paris: VO Éditions.Google Scholar
  17. Herpe, N., & Kohn, O. (1996). Interview with Laetitia Masson. ‘Regarder partout...’. Positif, 419, 24–28.Google Scholar
  18. Herzberg, N. (1997). 155 writers denounce the immigration laws. Le Monde, Friday, February 14, p. 8.Google Scholar
  19. Lambert, B., & Matonti, F. (2001). Artistes/Politiques. Sociétés & Représentations, 11, 4–11.CrossRefGoogle Scholar
  20. Le Club des 13. (2008). Le milieu n’est plus un pont mais une faille. Paris: Éditions Stock.Google Scholar
  21. Lefort, G., & Péron, D. (2007a) They explain their rebellion against the arbitrary. Libération, Tuesday, March 6.Google Scholar
  22. Lefort, G., & Péron, D. (2007b). Reels versus lies. Libération, Tuesday, March 6.Google Scholar
  23. Marie, L. (2005). Le cinéma est à nous. Le PCF et le cinéma français de la Libération à nos jours. Paris: L’Harmattan.Google Scholar
  24. Mariette, A. (2006a). Ressources et contraintes d’un passé militant: le cas d’un cinéaste ‘engagé’, Robert Guédiguian. In S. Tissot, C. Gaubert, & M.-H. Lechien (Eds.), Reconversions militantes (pp. 201–229). Limoges: PULIM.Google Scholar
  25. Mariette, A. (2006b). La réception par la critique d’un premier long métrage: la consécration unanime de Ressources humaines? In G. Mauger (Ed.), L’accès à la vie d’artiste. Sélection et consécration artistiques (pp. 113–147). Broissieux: Éditions du Croquant.Google Scholar
  26. Mariette, A. (2008a). Le “cinéma social” aux frontières de l’engagement. Sociologie d’une catégorie entre art et politique. PhD in sociology, under the supervision of J.-L. Fabiani, EHESS.Google Scholar
  27. Mariette, A. (2008b). Le monde du cinéma en Mai 68. In D. Damamme, B. Gobille, F. Matonti, & B. Pudal (Eds.), Mai-Juin 68 (pp. 234–243). Paris: Éditions de l’Atelier.Google Scholar
  28. Masson, C. (1998). ‘Si je garde cette ligne politique, je ne peux pas utiliser la courte focale.’ Interview with Jean-François Richet. In M. Marie (Ed.), Le jeune cinéma français (pp. 112–115). Paris: Nathan.Google Scholar
  29. Matonti, F. (2004). Arts, culture et intellectuels de gauche au XXe siècle. In J.-J. Becker & G. Candar (Eds.), Histoire des gauches en France. XXe siècle: à l’épreuve de l’histoire, 2 (pp. 684–702). Paris: La Découverte.Google Scholar
  30. Péron, D. (2007). Le cinéma défendu [Portrait of P. Ferran]. Libération, Saturday and Sunday, March 3 and 4, p. 40.Google Scholar
  31. Roussel, V. (2006). Les artistes américains contre la guerre en Irak. In L. Mathieu & J. Balasinski (Eds.), Art et contestation sociale (pp. 65–86). Rennes: PUR.Google Scholar
  32. Sapiro, G. (1999). La guerre des écrivains. 1940–1953. Paris: Fayard.Google Scholar
  33. Siméant, J. (2005). Pratiques protestataires. Genèses, 59, 2–3.Google Scholar
  34. Sommier, I. (2003). Le renouveau des mouvements contestataires à l’heure de la mondialisation. Paris: Flammarion. 1st edition published 2001.Google Scholar
  35. Walzer, M. (1996). La critique sociale au XX ème siècle. Solitude et solidarité. Paris: Métailié.Google Scholar

Copyright information

© Springer Science + Business Media, LLC 2010

Authors and Affiliations

  1. 1.CRESPPA-CSUCNRS-Université de Paris 8ParisFrance

Personalised recommendations