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Tinne Claes and Katrin Pilz

, such as industrial workers, but also military men and veterans, mothers, children and, in colonial contexts, indigenous people. 88 Realised by different public health departments these films were prepared and executed by professional and clinical film directors. This specific genre is therefore an optimal source for discussing interdisciplinary, intercultural, scientific and public

in Medical histories of Belgium
The highs and lows
Jonathan Driskell

French cultural life through, for example, his induction in 1980 (the first of a French film director) into the Académie des Beaux-Arts. His work is regularly shown in cinemas and on television in France, it is discussed in classes and at conferences, and it has generated much writing, both academic and popular. In short, Carné is a towering figure in French cinema. But there is another side to the Carné story. In keeping

in Marcel Carné
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Kurys’ authorial signature
Carrie Tarr

of French cinema for her sympathetic treatment of the histories and desires of girls and women; Diabolo menthe and Coup de foudre in particular deserve a permanent place in the canon of European women’s filmmaking. References Foster , Gwendolyn Audrey ( 1995 ), Women Film Directors: An Introductory Bio-Critical Dictionary , New York , Greenwood Press

in Diane Kurys
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Douglas Morrey and Alison Smith

adopt and abandon a variety of roles over the course of a film), and for the unfinished nature of most of these theatrical productions: Rivette frequently films rehearsals, but rarely (except in Va savoir (2001)) finished performances, as though all these productions were constantly evolving. Hence too the uncertain role of the theatre (and so, by extension, the film) director: on the one hand, an ambiguous, impotent observer of

in Jacques Rivette
Brian Mcfarlane

Few film directors can have had a more varied experience of their trade than Lance Comfort. Fortunately this is not a biographical study since so many of the documents that might have shed light on his earlier years have been lost. According to his son John, in moving into a smaller flat in the years just before his death, Comfort destroyed virtually all his papers, consigning a press cuttings book (the

in Lance Comfort
A history of Korean cinema
Hyangjin Lee

. Kim Jong Il’s extraordinary interest in film is fully demonstrated by his successful abduction of the leading South Korean film director and his actress wife, Shin Sangok and Ch’oe Ŭnhŭi in 1978. This popular director-actress couple were regarded as the leaders of the ‘Golden Era’ in the South Korean film history. Shin made sixty-four films before his abduction, and Ch’oe played title roles in many of his films. Their

in Contemporary Korean cinema
Thai post-colonial perspectives on kingship
Irene Stengs

in the making of the movie The Legend of Queen Suriyothai . It is common knowledge that Sirikit strongly identifies with her historical predecessor. 39 Statements on the topic by people close to the queen have regularly appeared in the newspapers. Rumour (which does not appear in the press in Thailand) has it that the queen regards herself as a reincarnation of the warrior queen. We have to understand the interest of Sirikit in promoting the story of Suriyothai in this context. In 1999, Sirikit approached one of Thailand’s most established film directors, M. C

in Monarchies and decolonisation in Asia
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Andrew Dix

film’s meanings. Is the entire debate over whose authorial signature to affix to a filmdirector’s? screenwriter’s? star’s? cinematographer’s? producer’s? studio’s? – wearisome and unproductive? Are there better things we could be doing in film studies? Is it time to shelve the problematic of film authorship itself? The rebirth of the author In film as in literary studies, announcement of the death of the author proved to be premature. Since the discipline absorbed the implications of Barthes’s memorialising essay, it is

in Beginning film studies (second edition)
The Second Situationist International on freedom, Freddie, and film
Mikkel Bolt Rasmussen

factions that emerged from the split in 1961 shared a belief in the necessity of liberating art but differed considerably when it came to the proper use of art and cinema. Together with the Danish art critic turned artist, film director, and provocateur Jens Jørgen Thorsen and other Danish, Swedish, and British artists, Nash not only made a number of films from 1962 onwards but also organised several experimental-film festivals. At these festivals, Nash and his cohorts screened not only their own films but also contemporary experimental films from both Western and

in Surrealism and film after 1945
Ronit Lentin

being perceived as having the potential to heal spoilt Israeli-Jewish identity; the Nakba itself is perceived as part of Israeli Jewish history. In parallel, although they recognise that the Palestinians are the main objects of state oppression, many Jewish Israeli members of the resistance movement also feel oppressed by state policies. Ariella Azoulai, lecturer in contemporary philosophy and visual culture, curator and documentary film director, distributed a text she wrote during the Gaza war, in which she bemoans the difficulty to conduct a policy of resistance in

in Co-memory and melancholia