Remade in France: Anglicisms in the Lexicon and Morphology of French chronicles the current status of French Anglicisms, a popular topic in the history of the French language and a compelling example of the influence of global English. The abundant data come from primary sources-a large online newspaper corpus (for unofficial Anglicisms) and the dictionary (for official Anglicisms)-and secondary sources. This book examines the appearance and behavior of English items in the lexicon and morphology of French, and explains them in the context of French neology and lexical activity. The first phase of the latest contact period (1990-2015) has its own complex linguistic characterization, including a significant influx of nonce borrowings and very low frequency Anglicisms, heterogeneous and creative borrowing outcomes, and direct phraseological borrowing. This book is a counterargument to the well-known criticism that Anglicisms are lexical polluters. On the contrary, the use of Anglicisms requires the inventive application of complex linguistic rules, and the borrowing of Anglicisms into the French lexicon is convincing proof that language change is systematic. The findings bring novel interdisciplinary insights to the domains of borrowing in a non-bilingual contact setting; global English as a source of lexical creativity in the French lexicon; the phases, patterns and processes of integration of English loanwords; the morphology of borrowing; and computational corpus linguistics. The appended database is a snapshot of a synchronic period of linguistic contact and a useful lexicographic resource.

With sequels, prequels, remakes, spin-offs, or copies of successful films or franchises dominating film and television production, it sometimes seems as if Hollywood is incapable of making an original film or TV show. These textual pluralities or multiplicities—while loved by fans who flock to them in droves—tend to be dismissed by critics and scholars as markers of the death of high culture. Cycles, Sequels, Spin-offs, Remakes, and Reboots takes the opposite view, surveying a wide range of international media multiplicities for the first time to elucidate their importance for audiences, industrial practices, and popular culture. The essays in this volume offer a broad picture of the ways in which cinema and television have used multiplicities to streamline the production process, and to capitalize on and exploit viewer interest in previously successful and/or sensational story properties. An impressive lineup of established and emerging scholars talk seriously about forms of multiplicity that are rarely discussed as such, including direct-to-DVD films made in Nigeria, cross-cultural Japanese horror remakes, YouTube fan-generated trailer mash-ups, and 1970s animal revenge films. They show how considering the particular bonds that tie texts to one another allows us to understand more about the audiences for these texts and why they crave a version of the same story (or character or subject) over and over again. These findings demonstrate that, far from being lowbrow art, multiplicities are actually doing important cultural work that is very worthy of serious study.

For a long time, France and its culture have been one and the same. However, of this past glory, all that is left today is navel-gazing, nostalgia and timidity. Covering art, fashion, philosophy, literature and cinema, Donald Morrison argues that French culture no longer has the kind of international standing it once did.

Smart. Funny. Fearless."It's pretty safe to say that Spy was the most influential magazine of the 1980s. It might have remade New York's cultural landscape; it definitely changed the whole tone of magazine journalism. It was cruel, brilliant, beautifully written and perfectly designed, and feared by all. There's no magazine I know of that's so continually referenced, held up as a benchmark, and whose demise is so lamented" --Dave Eggers. "It's a piece of garbage" --Donald Trump.

This volume presents an overview of major cultural themes in contemporary France. The section on politics deals with the issue of political cohabitation, the evolution of the Communist Party, the environment, social systems and the European Union. In the social arena, the articles encompass the evolution of the family, benefits for the elderly, the education system, and the social implications of graffiti. The changing nature of French identity is brought to light through an analysis of the press and the debate on multiculturalism. A review of cultural issues includes the notion of leisure, the contemporary social novel, the cosmopolitan tradition in French film, and new cultural spaces.The work concludes with perceptions of France from the United States as seen through diplomatic relations and remakes of french films, and a final essay on France. The various articles include numerous bibliographic references and will be of great interest to Francophiles, academics, and students of French language and culture.

The director and cowriter of some of the world's most iconic films—including Double Indemnity, Sunset Blvd., Some Like It Hot, and The Apartment—Billy Wilder earned acclaim as American cinema's greatest social satirist. Though an influential fixture in Hollywood, Wilder always saw himself as an outsider. His worldview was shaped by his background in the Austro-Hungarian Empire and work as a journalist in Berlin during Hitler's rise to power, and his perspective as a Jewish refugee from Nazism lent his films a sense of the peril that could engulf any society. In this critical study, Joseph McBride offers new ways to understand Wilder's work, stretching from his days as a reporter and screenwriter in Europe to his distinguished as well as forgotten films as a Hollywood writer and his celebrated work as a writer-director. In contrast to the widespread view of Wilder as a hardened cynic, McBride reveals him to be a disappointed romantic. Wilder's experiences as an exile led him to mask his sensitivity beneath a veneer of wisecracking that made him a celebrated caustic wit. Amid the satirical barbs and exposure of social hypocrisies, Wilder’s films are marked by intense compassion and a profound understanding of the human condition. Mixing biographical insight with in-depth analysis of films from throughout Wilder's career as a screenwriter and director of comedy and drama, and drawing on McBride's interviews with the director and his collaborators, this book casts new light on the full range of Wilder's rich, complex, and distinctive vision.