As a college sport mostly played by middle-class young men who happened to go to the movies, football was perceived as a modern industrial sport. This trend increased, leading to football dethroning baseball during the s, a sport that was considered older and more rural but whose success was attached to its Americanness.
We can see that through the growing number of people practicing community-building sports such as football the first team sport to be featured in a movie , baseball, and basketball. The sports most featured on the big screen were boxing , football 87 , car racing 80 , and baseball They made up for about two thirds of sports films which were produced from to Basketball was featured in 27 movies — 20 of them being produced since , while its number of players rose. Sports sociology finds in sports films a showcase of representations built by the American society for itself, as well as an entry point to examine and analyze its culture.
In regard to the diversity of these films, it is difficult to unite them within a single genre. However, sport is far from being totally missing in French society and films, as we noted earlier. As it was the case in the United States, the golden age of sports in France took place between the two World Wars: French sport was then celebrated in novels, poems, and statues, and it became an important part of French society.
Sport is also considered as undignified in the French collective imagination. Very far from myth-building, symbols, and an emphasis on the values of sports, French movies reveal distrust toward sports — which can be seen in books by Jean-Marie Brohm and Marc Perelman 47 — as well as toward genre films.
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Thus, French commentators prefer categorizing boxing films — an American subgenre which experienced somewhat of a golden era in France — as films noirs over sports films. Moreover, even though movies do often highlight its values, sport does not have a nation-building power , as the French situation calls for identifying to a national identity rather than an identity in the process of being constructed Furthermore, it is difficult to consider soccer as a national pastime , popular though it is, for it was imported for England.
If the serial logic as well as the David-against-Goliath duel narrative are to be found in these films, the symbolic dimension of sports — or at least its social function — is often tarnished, as we have seen. In the absence of any genre logic, there are also only a few intertextual references.
But above all, as it is left aside by film enthusiasts, sports predictability is not compatible with films which — for writing purposes — are built on luck as the main source for comedy as well as the best way to reproduce the glorious uncertainty of sports on the big screen. The former was based on dialogues, while the latter was based on studio-making, settings, scriptwriting, adaptations, and costumes. The last movement was based on a light technical setting and it excluded realism.
Once more, this did not allow the recreating and filming of the sports spectacle, which often calls for a heavier setting.
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As it does not follow a serial logic, and denounces sports and their political use, the French socio-economic and intellectual context does not favor the exploitation of sports films. The films mentioned above follow a formal approach more than a symbolic one. This explains the different importance granted to sports films in the French and American cultures: The criteria for making these films are diverse.
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Critics such as Les cahiers du cinema and academic reviews as well as testimonies from actors and spectators bring up a systematic comparison between films and sports broadcasting which always ends up in favor of the latter, as the poetic dimension is not associated with cinema in that regard. This view was already shared in the s and s when the then-recurring use of game action in film editing was born. On the contrary, Carpentier shot his own biopic in as early as Le roman de Carpentier before starting his career as an actor once he hung up his gloves, to reenact his making as a boxer.
Images of his fights were sometimes edited with images from the films. The French strategy of verismo does not match the genre system as it is linked with symbolism. Indeed, what makes the value of sports films and also allows to attract audiences other than aficionados — as it is the case with The Endless Summer Bruce Brown, — is the status of sports as an omnibus subject, as Pierre Bourdieu wrote. Therefore, so-called cheerleading films can be categorized within the sports film genre. While French spectators do not find this in films, they do find it in sports reporting, as reporters never miss an opportunity to teach life lessons.
The American film musical. Indiana University Press, Oxford University Press, Sports in the Movies. Sociological dynamics of sport and exercise. Morton Publishing Company, Aesthetics and Culture in Ireland. An ambivalent look at the fictional sports feature film.
The cinema of baseball: Images of America, Baseball in the movies: A comprehensive reference, Sport in Australian Drama. Cambridge University Press, Signaler ce contenu Voir la page de la citation. Il faut donc toujours avoir les oreilles propres pour entendre et les yeux ouverts pour voir et comprendre. Si l'on choisit de se raconter, les gens sauront ce qu'on ressent.
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