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We present during this event a handful of authors who appeared on our show, and who have expressed an interest in selling the international rights to their work.
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This book provides the first detailed analysis of the work of four important contemporary directors whose work falls between the reductive labels of 'auteur cinema' and 'popular cinema'. Their work is contextualised within this timely investigation into the shifting relationship between the privileged status of the auteur and questions of genre, gender and cinematic production in France today. This important contribution to understanding the shifting landscapes of contemporary French film identifies an essential intermediacy in the films of these directors, which works to undo a series of dominant oppositions, generic template and contestation, public collectivity and personal intimacy, to offer a new perspective on the location of the political in contemporary French cinema. The four chapters provide detailed critical analysis of films by Dominique Cabrera, Laetitia Masson, Noémie Lvovsky and Marion Vernoux, and present common thread including the possible construction of social intimacy, the political demystification of romance narratives and the role of nostalgia, to argue that their work uses popular genres in order to challenge dominant cultural representation that resonates beyond the immediate parameters of contemporary French cinema. This book will be of interest to researchers working in French and European cinema, to students of Film Studies and French and Francophone Studies, and to film enthusiasts. ;
This book provides the first detailed analysis of the work of four important contemporary directors whose work falls between the reductive labels of 'auteur cinema' and 'popular cinema'. Their work is contextualised within this timely investigation into the shifting relationship between the privileged status of the auteur and questions of genre, gender and cinematic production in France today. This important contribution to understanding the shifting landscapes of contemporary French film identifies an essential intermediacy in the films of these directors, which works to undo a series of dominant oppositions, generic template and contestation, public collectivity and personal intimacy, to offer a new perspective on the location of the political in contemporary French cinema. The four chapters provide detailed critical analysis of films by Dominique Cabrera, Laetitia Masson, Noémie Lvovsky and Marion Vernoux, and present common thread including the possible construction of social intimacy, the political demystification of romance narratives and the role of nostalgia, to argue that their work uses popular genres in order to challenge dominant cultural representation that resonates beyond the immediate parameters of contemporary French cinema. This book will be of interest to researchers working in French and European cinema, to students of Film Studies and French and Francophone Studies, and to film enthusiasts.
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Auteurism - the idea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French New Wave of the late 1950s and early 1960s, and the adoption of the term auteur by Andrew Sarris. Through the popular, controversial and critically acclaimed films of Olivier Assayas, Jacques Audiard, the Dardenne borthers, Michael Haneke and Francois Ozon, this book looks into how the meaning of 'auteur' has changed over this half-century, and assesses the current state of Francophone auteur cinema. It combines French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism. This volume will be of interest to researchers and students of film studies, European cinema and French and Francophone studies, as well as to film enthusiasts.
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Since the release of his first feature in 1996, Alejandro Amenábar has become the 'golden boy' of Spanish filmmaking, a bankable star director whose brand virtually guarantees quality, big audiences and domestic box office success. He has directed three of the highest-grossing movies in Spanish film history and has enjoyed enormous international and critical acclaim, including an Oscar for Best Foreign Film for Mar Adentro/The Sea Inside, 2004. This book is the first full-length study in English of Amenábar's shorts and feature films. It provides detailed analysis of his engagement with popular film genres as the basis for an auteur cinema and incorporates a reappraisal of his auteurism as fundamentally decentred and shared. An essential resource for students, scholars and fans of Amenábar, the book will also appeal to a wider readership, including professionals in the film, media and culture industries as well as those who have a general interest in the best of Spanish, European and world cinema.
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Auteurism - the idea that a director of a film is its source of meaning and should retain creative control over the finished product - has been one of film studies' most important paradigms ever since the French New Wave of the late 1950s and early 1960s, and the adoption of the term auteur by Andrew Sarris. Through the popular, controversial and critically acclaimed films of Olivier Assayas, Jacques Audiard, the Dardenne borthers, Michael Haneke and Francois Ozon, this book looks into how the meaning of 'auteur' has changed over this half-century, and assesses the current state of Francophone auteur cinema. It combines French philosophical and sociological approaches with methodologies from the Anglo-American fields of gender studies, queer theory and postmodernism. This volume will be of interest to researchers and students of film studies, European cinema and French and Francophone studies, as well as to film enthusiasts.
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This collection offers a new lens through which to examine Spain's cinema production following the isolation imposed by the Franco regime. The seventeen key films analysed in the volume span a period of 35 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. They encompass different genres (horror, thriller, melodrama, social realism, documentary), both popular (Los abrazos rotos/Broken Embraces, Vicky Cristina Barcelona) and more select art house fare (En la ciudad de Sylvia/In the City of Sylvia, El espíritu de la colmena/Spirit of the Beehive) and are made in English (as both first and second language), Basque, Castilian, Catalan and French. Offering an expanded understanding of 'national' cinemas, the volume explores key works by Guillermo del Toro and Lucrecia Martel alongside an examination of the ways in which established auteurs (Almodóvar, José Garci, Carlos Saura) and younger generations of filmmakers (Cesc Gay, Amenábar, Bollaín) have harnessed cinematic language towards a commentary on the nation-state. The result is a bold new study of the ways in which film has created new prisms that have determined how Spain is positioned in the global marketplace.
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Since the release of his first feature in 1996, Alejandro Amenábar has become the 'golden boy' of Spanish filmmaking, a bankable star director whose brand virtually guarantees quality, big audiences and domestic box office success. He has directed three of the highest-grossing movies in Spanish film history and has enjoyed enormous international and critical acclaim, including an Oscar for Best Foreign Film for Mar Adentro/The Sea Inside, 2004. This book is the first full-length study in English of Amenábar's shorts and feature films. It provides detailed analysis of his engagement with popular film genres as the basis for an auteur cinema and incorporates a reappraisal of his auteurism as fundamentally decentred and shared. An essential resource for students, scholars and fans of Amenábar, the book will also appeal to a wider readership, including professionals in the film, media and culture industries as well as those who have a general interest in cinema.
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Clive Barker: Dark imaginer explores the diverse literary, film and visionary creations of the polymathic and influential British artist Clive Barker. In this necessary and timely collection, innovative essays by leading scholars in the fields of literature, film and popular culture explore Barker's contribution to gothic, fantasy and horror studies, interrogating his creative legacy. The volume consists of an extensive introduction and twelve groundbreaking essays that critically reevaluate Barker's oeuvre. These include in-depth analyses of his celebrated and lesser known novels, short stories, theme park designs, screen and comic book adaptations, film direction and production, sketches and book illustrations, as well as responses to his material from critics and fan communities. Clive Barker: Dark imaginer reveals the breadth and depth of Barker's distinctive dark vision, which continues to fascinate and flourish.
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Since the release of his first feature (Tesis) in 1996, Alejandro Amenábar has become the 'golden boy' of Spanish filmmaking, its 'King Midas', - a bankable star director - whose brand virtually guarantees quality, big audiences and domestic box office success. He has directed three of the biggest grossing movies in Spanish film history and has enjoyed enormous international and critical acclaim (including an Oscar for Best Foreign Film for Mar Adentro/The Sea Inside, 2004). With Alejandro Amenábar, Jordan provides the first full-length study in English of Amenábar's shorts and feature films. Known for his spectacular imagery, sophisticated editing, memorable sound-tracks and challenging subject matter, Jordan shows how Amenábar makes a serious and socially aware, exportable 'middlebrow' cinema, designed for global audiences. There is also a detailed analysis of his engagement with popular film genres as the basis for an auteur cinema, and Jordan incorporates a reappraisal of Amenábar's auteurism as fundamentally decentred and shared. The book will be an essential resource for teachers, students, scholars and fans of Amenábar. It will also appeal to a wider readership, such as those who work in the film, media and culture industries as well as those who have a general interest in the best of Spanish, European and World cinema. ;
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This is the first full-length study of the films of François Ozon, director of such diverse films as 8 femmes, Swimming Pool, 5x2 and Les amants criminels. Andrew Asibong's passionate and critical analysis focuses on the extent to which Ozon's seemingly light touch never ceases to engage with the fundamentally weighty issue of existential transformation, a transformation that affects both his protagonists and his audiences. A central question emerges: what is at stake, cinematically, ethically and politically, in Ozon's alternatively utopian and cynical flirtation with the construction and deconstruction of contemporary social relations. Revealing Ozon as a highly adept 'fan' of a whole range of thought, literature and cinema, Asibong places the precocious French auteur in an intellectual yet highly accessible critical framework, allowing Ozon's importance for a thoroughly postmodern filmgoing generation to be given the attention it deserves. ;
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This book is the first ever English-language study of Julien Duvivier (1896-1967), once considered one of the world's great film filmmakers. It provides new contextual and analytical readings of his films that identify his key themes and techniques, trace patterns of continuity and change, and explore critical assessments of his work over time. His career began in the silent era and ended as the French New Wave was winding down. In between, Duvivier made over sixty films in a long and at times difficult career. He was adept at literary adaptation, biblical epic, and film noir, and this groundbreaking volume illustrates in great detail Duvivier's eclecticism, technical efficiency and visual fluency in works such as Panique (1946) and Voici le temps des assassins (1956). It will particularly appeal to scholars and students of French cinema looking for examples of a director who could straddle the realms of the popular and the auteur.
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Connaître son potentiel – en suivant les travaux de Feldenkrais par Abraham Shoshani Connaître son potentiel est inspiré par les travaux du Dr. Moshe Feldenkrais et du fameux philosophe israélien, le Professeur Yeshaiahu Leibovich, qui ont été les vénérés professeurs et modèles de l’auteur. La lecture de ce livre constitue une expérience unique – l’expérience d’un voyage dans le monde spiritual de l’être humain. Ce monde est complexe et compliqué, mais toujours intéressant et attirant. Connaître son potentiel offres des défis intellectuels au lecteur intéressé et, pour quiconque s’occupe d’éducation de performance, inspiration et guidance. Les connaissances du Dr. Shoshani sont étendues, d’une profondeur étonnante et dénuées de rigidité académique. On ne peut s’empêcher d’être impressionné par le travail intellectuel investi dans l’écriture de ce livre concis et cependant complet. La rencontre passionnante entre le monde de la psychologie et celui de l’éducation lui donne une qualité particulière et une marque de défi intellectuel. L’auteur est un artiste et chercheur qui intègre la connaissance des cultures orientale et occidentale et crée une nouvelle perspective dans l’éducation de performance. Son cheminement innovateur jouit d’une reconnaissance internationale: à l’étranger, le Dr. Shoshani a donné des conférences dans des institutions académiques, parmi lesquelles: l’Académie Royale de Musique et d’Art Dramatique à Glasgow; le Département d’Art Dramatique de la Carnegie Mellon University à Pittsburgh; le Actors Studio à New York; et le Ithaca College à New York. Le Dr. Shoshani est le directeur du Centre de la Culture à Jérusalem Est. L'édition du livre en hébreu a été adoptée par le Ministère de l’Education et de la Culture en Israël comme manuel dans les instituts d’entraînement des éducateurs.
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This book assesses Joss Whedon's contribution to US television and popular culture. Examining everything from his earliest work to his most recent tweets and activist videos, it explores his complex and contradictory roles as both cult outsider and blockbuster filmmaker. Crucially, the book insists on the wider industrial, technological, political and economic contexts that have both influenced and been influenced by Whedon, rejecting the notion of Whedon as isolated television auteur. Using key source material, with exclusive access to drafts of many of the episodes across Whedon's career, as well as unique correspondence with Whedon collaborator Jane Espenson, this book offers unparalleled access to the creative process that helped produce the series Buffy the Vampire Slayer, Angel, Dollhouse and Firefly. Energetic, engaging and informed by detailed scholarship and theoretical rigour, the book is not just an essential addition to the study of Whedon, but a timely and important re-invigoration of television studies in general.
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Brazil has one of the most significant and productive film industries in Latin America. This ground-breaking study provides an entertaining insight into the Brazilian films that have most captured the imagination of domestic audiences over the years. The recent international success of films such as Central Station and City of God, has stimulated widespread interest in Brazilian film, but studies written in English focus on the 'auteur' cinema of the 1960s. This book focuses on individual films in their socio-historical context, drawing on extensive fieldwork in Brazil and Latin America. It argues that Brazilian cinema has almost always been grounded in intrinsically home-grown cultural forms, dating back to the nineteenth century, such as the Brazilian music-hall, the travelling circus, radio shows, carnival, and, later, comedy television. Combining a chronological structure with groundbreaking research and a lively approach, Popular cinema in Brazil is the ideal introduction to Brazilian cinema.
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LE MUR, ETC. par Hamutal Bar-YosefLe mur est un recueil de dix-huit nouvelles merveilleusement écrites et dont certaines sont fondées sur des faits véridiques. Le célèbre écrivain israélien Amos Oz a qualifié ce recueil de « particulièrement puissant et émouvant »Hamutal Bar-Yosef a créé dans Le mur, etc. un récit composé de « tranches de vie » tragi-comique, quelquefois grotesque et qui décrit la condition humaine comme l’abîme béant qui sépare les désirs de la réalité. Elle y exprime une grande empathie et un respect considérable pour les personnages qu’elle décrit et elle pénètre leur monde intérieur avec une sensibilité stupéfiante.Hamutal Bar-Yosef est bien connue en Israël comme écrivain, poète, traductrice et universitaire. Elle est née dans un Kibboutz de parents qui ont perdu leur famille dans la Shoa. Son seul frère a été tué en 1948 pendant la guerre d’Indépendance d’Israël. À l’âge de vingt ans, l’auteur a épousé le dramaturge p Words Yosef Bar-Yosef dont elle a eu quatre enfants; l’un d’entre eux s’est suicidé à l’âge de seize ans. Elle a subvenu aux besoins de sa famille en travaillant comme professeur dans une école secondaire et, par la suite, en rédigeant des guides pédagogiques. L’auteur n’a soutenu sa thèse de doctorat qu’après l’âge de quarante ans, devenant alors professeur de littérature hébraïque à l’Université Ben-Gourion. Elle a écrit huit ouvrages d’érudition mais également quinze livres de poésie et ces derniers lui ont valu de nombreux prix prestigieux. Son recueil de nouvelles Le mur (intitulé à l'origine Musique) a remporté le prix ASI (Association des Ecrivains Israéliens).Le professeur Bar-Yosef a traduit des œuvres de poésie et des romans depuis l’anglais, le français et le russe.
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C’est de l’être humain qu’il s’agit– une variété de silhouettes du Vieux Jérusalem par Harout Bedrossian Harout Bedrossian, un jeune écrivain arménien du Vieux Jérusalem, réussit à dépeindre, dans ce roman compact, divers personnages venant d’horizons divers que la vie, d’une manière inattendue, amène à se rencontrer et met en relation, en dépit de leurs points de vue différents. C’est le combat d’un jeune homme de coefficient intellectuel limité pour se faire accepter. Lui, que l’on considère comme dépourvu d’émotions, ostracisé par la société et maltraité par son père – il tombe amoureux et, à la grande surprise de sa mère, une femme lui rend son amour et l’accepte tel qu’il est. Un athlète, qui a connu la célébrité, puis l’a perdue et est retombé dans la masse anonyme, trouve le réconfort apporté par une jeune femme compréhensive et indulgente. Un psychiatre a traité le « mauvais patient » et en voit toute sa vie bouleversée ; il est obligé de s’exiler hors de la Russie et se retrouve entouré d’une culture complètement différente dans son nouveau pays, alors que son passé continue à le hanter. Un jeune homme, chrétien fervent, est accusé à tords et il finit en prison. Pourtant, il reste plein de vie et d’espoir, continuant à faire confiance au Seigneur et gardant la foi que tout ce qui arrive, dans la vie, a une raison. La malheureuse victime d’un viol apprend à aimer de nouveau ; et plusieurs autres personnages se découvrent eux-mêmes à travers leurs rencontres mutuelles. L’auteur ne mentionne pas la nationaliste de la plupart des personnages, vu que leurs problèmes et leurs combats sont purement humains et universels, qu’il s’agisse d’israéliens, de palestiniens, de chrétiens, de musulmans ou de juifs – affirmant que, pour l’essential, nous nous trouvons en présence des mêmes éléments humains. Le récit prend place principalement à Jérusalem, et l’auteur a tiré son inspiration de personnes qu’il a rencontrées au cours de sa vie professionnelle, lors de la visite des services psychiatriques, où est représentée une diversité de population que l’on peut trouver seulement dans un pays multiculturel comme Israël. Les éléments humains, que dépeint Bedrossian, peuvent rappeler ceux du célèbre auteur arménien-américain William Saroyan, qui a amusé des millions de lecteurs en contant les péripéties de l’eternel perdant qui est déterminé à réussir. Harout Bedrossian est né en 1972 à Jérusalem. Il a fait des études en Floride en 1989 et, après être sorti de l’école secondaire de West Palm Beach, il est rentré à Jérusalem, où il a commencé à travailler comme aide-enseignant et a obtenu une licence en psychologie et criminologie de l’Université d’Afrique du Sud. Etant né et ayant grandi dans une famille arménienne de Jérusalem, il s’est trouvé exposé à la fois aux cultures arménienne, arabe et juive, et il parle couramment l’arménien, l’anglais, l’hébreu et l’arabe.
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Claire Denis is one of France's most acclaimed and original filmmakers. Since her remarkable debut success with 'Chocolat' (1986), she has produced an impressive series of features which have been intriguing, visually striking, and often highly controversial (including 'Beau Travail' (2000) and 'Trouble Every Day' (2001)). Beugnet provides a thematic and stylistic framework within which to consider Denis' work, as well as a comprehensive analysis of individual films. She highlights the resonance of Denis' films in relation to ongoing debates about French national identity and culture, and issues of postcolonial identity, alienation and transgression, as well as examining their exploration of the interface between sexuality, desire and sensuality. This is an essential introduction to Denis, and a sophisticated and illuminating study of her work to date.
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First in a series designed to situate and explain the films of French directors. A concise, accessible and original reading of Truffaut's films. A timely evaluation of the films of a popular director whose work features on most A-level French syllabuses and on the majority of University French Studies programmes both in the UK and the USA .
