Brigitte Roan's Outremer (1990), whose female protagonists carry the primary symbolic weight of French identity, tends toward what Frederic Jameson has identified as national allegories, in the sense of texts that metaphorize the public sphere even when narrating apparently private
stories. In this context, the soundtrack and the discursive meaning of Roan's film are inseparable, for it is ultimately what we hear that allows us to appreciate Roan's film fully and accurately as both national allegory and gendered discourse. Thus Outremer's parodic and parallel
subversion of the narratives of romance and of colonialist conquest is first announced during the opening credits and attains its apotheosis in the final credit sequence.
Studies in French Cinema is the only journal published in English devoted exclusively to French cinema, providing scholars, teachers and students from around the world with a consistent quality of academic investigation across the full breadth of the subject. Contributors scrutinise the cultural context of various works and the diverse stylistic approaches that infuse the visual fabric of this genre.