Search results

You are looking at 101 - 110 of 3,786 items for :

  • Refine by access: All content x
Clear All
Nicolas Kang- Riou

One of the main functions of legal academia is to examine the operation of legal institutions and existing norms. As many movies represent legal professionals and rules in action, in particular criminal trials, this is actually what most of the juridical law and cinema scholarships does. 1 What many legal scholars attempt when they study cinema and popular culture is to continue doing what they are the most adept at: analyse legal actors and legal rules, albeit focusing on representations rather than on the rules and actors themselves. The idea resting upon

in Cinematic perspectives on international law
Tom Ryall

4 Wartime British cinema Asquith, with a now established reputation as one of Britain’s leading film-makers, was ideally placed to play a key role in the specific demands placed upon the British cinema in the wartime period. Yet, neither Pygmalion nor French Without Tears, the films which had helped to consolidate his standing, prefigured the active engagement with wartime subject matter which Asquith was to demonstrate during the period of conflict. Indeed, most of his wartime films – six out of the eight features – have wartime subject matter and can be seen

in Anthony Asquith
Steven Ungar

7 From the Recherche on film toward a Proustian cinema Steven Ungar A chacun sa madeleine. (To each one her or his madeleine.)1 Each reader of Marcel Proust’s 3,000-page novel creates her or his Recherche.2 And this either by fashioning mental images while reading Proust’s prose. Or – after the fact – by recalling thoughts associated with having read the novel. Roland Barthes wrote in The Pleasure of the Text that Proust was a mandala containing an entire literary cosmogony.3 Elsewhere he confessed that, having read the Recherche several times, he tried never

in French literature on screen
Keith Reader

4 The banlieue in French cinema of the 1930s Keith Reader La banlieue est multiple. Le film de banlieue ne constitue pas un genre. Il n’a ni règles, ni codes. Il se définit par un décor, un climat, c’est un cinéma de situations.1 (Narvalo 1981: 3) The above was written, in a magazine published by the Maison Populaire de Montreuil, well before the cinéma de banlieue symptomatised by La Haine (Mathieu Kassovitz, 1995) emerged as a genre in its own right. Films de banlieue, indeed, have a history almost as long as that of cinema itself, as Annie Fourcaut notes in

in Screening the Paris suburbs
Abstract only
Diana Holmes and Robert Ingram

Awakening of a passion ‘Rien qu’en lisant tes journeaux [ sic ]de cinéma, ça me donne envie d’être à Paris car il y a l’air d’avoir de bons films’ 1 (Truffaut 1988 : 19). This letter to his friend, Robert Lachenay, written from Binic near St Brieuc in the summer of 1945 when he was only thirteen, reveals the depth and early manifestation of Truffaut

in François Truffaut
Tom Ryall

Post-war films 1 – genre and British cinema 5 The British cinema emerged from the war period with a high critical reputation, a degree of audience appeal, and with the Rank group well established as a large vertically integrated company ready to challenge the Hollywood majors in the international marketplace. Yet, the early post-war years saw the industry coping with a turbulent period of uncertainty dramatised by a trade war with Hollywood during which the American majors withheld their films from the British market for several months. The uncertainty, however

in Anthony Asquith
Abstract only
The performance of Gypsy and Basque songs in relation to film form
Rob Stone

-started the French New Wave and an entirely novel way of appreciating and making films ( 2000 : 59; emphasis in original). Most films are still constructed with the commercially minded aim of efficiently delivering resolutions to linear narratives. However, what matters in the consideration of song-shaped cinema is not narrative but this capability film shares only with music to communicate a protean perception of time. This

in Screening songs in Hispanic and Lusophone cinema
Anne Lagerwall

delivered justice to the people who needed it most when otherwise they might not have had it at all. And I’m proud to have done that and I’m proud to keep doing that. This scene stages two representations of international criminal justice which can be found more generally in cinema. On one hand, it appears as a necessary means to fight impunity ‘wherever the crime takes place’ and to ‘deliver justice to the people who need it most’. On the other, it is shown as an institution commanded by Western States’ interests and their neocolonialist reflexes. It is hard to tell

in Cinematic perspectives on international law
Open Access (free)
Ingmar Bergman, writer
Jan Holmberg

than that, and Bergman was not exactly known for his willingness to improvise. So what should one make of this proposed ad-libbing? The only reasonable explanation is that the Bergman who wrote Hour of the Wolf was writing a work of literature rather than a film. (The fact that the work was eventually adapted for cinema should not deter us from drawing this conclusion.) It should be mentioned, however, that these notes are not included in the published English translation of Hour of the Wolf . In fact, this

in Ingmar Bergman
Tom Ryall

3 Rural imagery in Second World War British cinema Tom Ryall When a 1941 Mass-​Observation poll asked the question, ‘What does Britain mean to you?’ the overwhelming majority of respondents spoke of rural areas, several explicitly identifying these as embodying the nation’s essence. Brian Foss1 England is the country, and the country is England. Stanley Baldwin2 Despite the fact that the majority of the British people lived in towns and cities and had done so since the late nineteenth century, the Mass-​Observation survey referred to above, conducted early in

in British rural landscapes on film