Article
French
ID: <
10.4000/belphegor.4272>
·
DOI: <
10.4000/belphegor.4272>
Abstract
First European periodical dedicated to gender cinema, Midi-Minuit fantastic (1962-1970) began on the modus of protest, denouncing the taste of the general press and film criticism for works deemed to be bourgeoises. Very heterogeneous, this media object is based on an inexperienced editorial team, a poorly identified but prolixed audience, a pre-gardist book editor, foreign filmmakers/actors/studios (especially Italian, British and American), and often invisible international film production. This study shows that Midi-Minuit fantastic is both a literary journal, an art journal, a fanzine — before the time — disguised as a magazine, a collection of rare images comparable to the 19th century keepsakes and a bright but erudite scant magazine. By superimposing these various approaches, Midi-Minuit fantastic establishes the first relations between European countries and the United States (mainly), while organising the reception of cinema, literature and gender DB in France. Midi-Minuit fantastic images became visible for the first time and surrounded them with texts in turn poetic, poetic and erudits. Midi-Minuit therefore directly shaped the representations and fantasms of the French public while considering gender cinema as an industrial, international, popular and artistic product.