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David Forrest

cinema: in short, British art cinema can and should have a place for what we might understand as poetic realism. By this, I mean a recurring tendency within British realism towards elements of stylisation, symbolism, narrative ambiguity and subjectivity, anchored by the traditional tenets of the mode: locational verisimilitude, a focus on under-represented or marginalised groups, and an awareness, explicit or otherwise, of the social and economic determinants of everyday life. Poetic realism is of course understood here as distinct from the historically, generically

in British art cinema
Phil Wickham

Art cinema, just like its mainstream counterpart, needs audiences to be sustainable. Reaching those audiences requires structures to finance production and to distribute and exhibit work: in short, a business. Without this business, films remain largely unseen or the preserve of a coterie of insiders. Art cinema as a cohesive genre emerged in Britain comparatively late, in the 1970s, 1 and its survival since then has not just been achieved through the talents of film-makers but also by producers, distributors, exhibitors and programmers

in British art cinema
Guy Austin

The birth of cinema The year 1995 saw France celebrating the centenary of cinema as a national achievement, a celebration enhanced by the recent victory over the United States regarding the exemption of films from the GATT free-trade agreement. Numerous film exhibitions and retrospectives were organised, including a showing of the entire catalogue of 1,400 short films made by

in Contemporary French cinema
James S. Williams

1 Space, cinema, being Space and being in contemporary French cinema Space, cinema, being Space, vast space, is the friend of being. (G. Bachelard) Space is to place as eternity is to time (J. Joubert) Space in cinema The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts – from Giotto to Kenneth Noland, from Intolerance to Week-end (Farber 1998: 3). He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of

in Space and being in contemporary French cinema
Abstract only

Film Studies is a refereed journal that approaches cinema and the moving image from within the fields of critical, conceptual and historical scholarship. The aim is to provide a forum for the interdisciplinary, intercultural and intermedial study of film by publishing innovative research of the highest quality. Contributions from diverse perspectives that are formed by the crossing of institutional and national boundaries are encouraged.

Identity, culture and politics
Author: Hyangjin Lee

Film in Korea has always been under governmental censorship. This book examines the ways in which Korean film reveals the ideological orientation of the society in which it is created and circulated. It examines the social and political milieu in which the Korean film industry developed from its beginning during the Japanese colonial period to its bifurcation into South and North Korean cinemas. The book presents a critical analysis of the selected films, which were all made between 1960 and 1990. It discusses the cultural identity of contemporary Koreans by analysing five films based on a popular traditional folk tale, Ch'unhyangjŏn. Three of the five films were made in South Korea: Shin Sangok's Song Ch'unhyang, Pak T'ae-wŏn's The Tale of Song Ch'unhyang and Han Sanghun's SongCh'unhyang. The significance of gender and class issues in Ch'unhyangjŏn can be glimpsed through the three variants of the film title. The book then examines the notion of nationhood held by contemporary Koreans from two interrelated perspectives, political and cultural. It explores the films in relation to the conflicting ideological orientations of North and South Korea. In the North Korean films, anti-imperialism constitutes the core of their definition of nationhood. Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. The book discusses six films in this context: The Untrodden Path, The Brigade Commander's Former Superior, Bellflower, A Nice Windy Day, Kuro Arirang and Black Republic.

Stephanie Dennison and Lisa Shaw

Brazilian popular cinema, at least until the 1980s, can be seen as a direct descendant of other shared cultural experiences. Just as a line can be traced from British music hall, via saucy picture postcards, radio comedy and holidays at the seaside to the Carry On films with their contemporary references, so too is it possible to read the special intimacy which popular films in Brazil achieved with their

in Popular cinema in Brazil, 1930–2001
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

pictures to produce an immersive spectacle, relying on the cinematic realism of non-fiction movies to increase the ‘perceptual experience’ and the ‘aesthetics of astonishment’ of the viewers ( Crawford-Holland, 2018 ). Back in the 1920s, ‘cinema … “virtually” extended human perceptions to events and locations beyond their physical and temporal bounds’ ( Uricchio, 1997 : 119). Humanitarian cinema thus participated in transnational campaigns aiming to mobilize and sensitize national audiences. More specifically, these movies also advocated on behalf of distant

Journal of Humanitarian Affairs
Christopher Meir

3 Lynne Ramsay, cross-over cinema and Morvern Callar ‘Young, gifted and Scottish’: the auteur as national cinema milestone Implicit in the titling of ‘new’ cinema is a privileging of directordriven film-making such as that found in the French Nouvelle Vague, or the ‘new German cinema’, each of which have become historically synonymous with names such as Godard, Truffaut, Varda, Herzog, Fassbinder and the like. It is thus not surprising that Petrie’s account in Screening Scotland culminates with author­ ial cinema, portraying the emergence of distinctive writer

in Scottish cinema
Jack Clayton’s Room at the Top
B. F. Taylor

A cinema of surfaces 3 A cinema of surfaces: Jack Clayton’s Room at the Top Let us then begin by examining the film in its general outline, as a shape, as a whole; and in setting ourselves such an aim, it will be observed, we are presupposing that a film is, in fact, a complete whole and does have a shape. This is the first thing we are entitled to expect of any work of art, that it shall have unity, and be a thing complete in itself which we can appreciate for its own sake, every part falling into place to create a satisfying pattern unmarred by redundancies

in The British New Wave