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Sophie Rudolph
Title
Dr.
Last Name
Rudolph
First name
Sophie
Email
sophie.rudolph@unisg.ch
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PublicationType: conference paper
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PublicationType: conference paper
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PublicationType: conference paper
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PublicationType: conference paper
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Publication"No place like "Home" or: what makes a movie "Swiss"?"In this paper I focus on the (im)possibility of making a "Swiss" film. I illustrate my thesis by way of analyzing the recent movie "Home" (2008) by Ursula Meier. How can we tell that it is a Swiss movie? The film features Isabelle Huppert in a leading role, has been funded by international co-production and the story is "glocal" at its best: it shows a family living happily together in a small house near a deserted highway in the middle of nowhere. The re-opening of the highway ends their peaceful life and threatens their daily routines. Refusing to move away they adapt creatively to their new environment, but the family is more and more disrupted by the noise and the pollution. At a superficial level the highway and the radio which is the family's central source of information throughout the film, can be read as metaphors of globalization and connection, whereas the isolated house becomes a symbol of reclusion in a familiar, thus local environment which has to be given up at the end in order to survive. The information that it is a movie from Switzerland discloses additional levels of understanding, which reveal deep structure of the movie and of Swiss identity likewise. I show that one can go even further, the family bricking itself in their tiny house could be seen as Switzerland refusing to join the European Union despite its economic and political dependence on it. Even in a local context, it is thus impossible to be neutral by "staying at home".Type: conference paper
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PublicationFrench Women DirActors : Enacting professional role models onscreen and behind the camera( 2010-12-02)In the last decade French cinema has seen many successful debuts by female directors, who were working in the film industry as actresses before starting their second careers. After Agnès Jaoui's debut as a movie director with her feature film Le gout des autres in 2000, other notable actress/director films were Zabou Breitman's Se souvenir des belles choses (2001), Sophie Marceau's Parlez-moi d'amour (2002), Valeria Bruni Tedeschi's Il est plus facile pour un chameau… (2003), Isabelle Nanty's Le bison (et sa voisine Dorine) (2003) and Julie Delpy's Deux jours à Paris (2007). These movie directors do more than just share a similar career development path. More importantly, all of them continue the French tradition of auteur cinema, not only directing but also writing the scripts of their films. In most films, the filmmakers even play the leading character, or appear as a supporting actor, thereby mixing their social function as star actresses and their professional role as movie directors. This paper looks at women's professional identities enacted onscreen and simultaneously behind the camera.Type: conference paper