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difference and change that characterises the framing are directly influenced by existential concerns.24 There is more than enough of everywhere in San Clemente, just as the defiant farmers from the Cévennes region share more than one might think with the nomads and peasant workers of North Africa and South-East Asia. Possibly, the tensions and paradoxes that have characterised Depardon’s work since the 1970s (here/there, document/fiction, image/text, anchor/ relay, objective/subjective) issue from the traveller’s desire to rediscover the whereabouts of home: ‘I don
the controversy, his friend and now filmmaking partner, Jean Celestin – who was co-story accredited on The Birth of a Nation – had not. When, finally, The Birth of a Nation went on general release in October 2016, its box-office return was a disappointing $16 million, prompting Fox Searchlight to cancel the film’s theatrical release in parts of South-East Asia, Latin
gender as performative, the problems and limitations of the manner in which this theory has been taken up are still apparent. On the other hand, and perhaps more importantly, this is also a multi-ethnic, diasporic community. Kwame’s mother is white northern British but his two dads (Jordan and Max), Max’s lesbian sister Cindy (Carleen Beadle) and Jordan’s new boyfriend Jonno (Silas Carson) are all African Caribbean British and the other characters embrace South and South East Asian and Jewish British identities. While the main focus of the piece is on issues of
Foreign Legion soldiers in Beau travail (1999), a film composed of dialogue in French, Russian and Italian. Denis continues to film in both France and various African countries, while also delving into representations of disparate cultures such as that of Russia, parts of South-East Asia and the South Pacific (as in her 2004 film L’Intrus, set in France, Switzerland, South Korea and French Polynesia). Her films are inherently transnational, not only in terms of production but of narrative, ‘prob[ing] the liminal space between self and other and the borderlands between
distributed domestically but forbidden to viewers under the age of eighteen, and furthermore banned from export to former French colonies in Africa, the Middle East and South-East Asia. As Favret-Saada wryly comments: ‘les colonisés, même après avoir conquis leur indépendance sont, pour l’éternité, des mineurs de 18 ans’ 2 (Favret-Saada 1993 : 77n. 15). What the ‘affaire de la Religieuse ’ perhaps
few and far between, usually focusing on 1930s films or Western European co-productions. Diverse, politically charged and culturally complex multilingual films, as well as scholarship reflecting on them, took off in France halfway through the first decade of the twenty-first century in an unprecedented way. Postcolonial legacies Any study of relations between French and other languages (particularly those of South-East Asian and North/West African tongues) in the contemporary era must take into account the legacy of colonialism. Mary-Louise Pratt writes that
mainstream Hollywood and various cinema ‘classics’ such as Citizen Kane on video and laser disc (the more cumbersome pre-cursor to DVD), Kassovitz further satisfied his taste for genre and exploitation cinema by attending Sunday morning screenings, arranged by the underground Paris-based film magazine Starfix , which promoted cult directors, genre and exploitation cinema from America and South-East
, Scotty’ have become international linguistic currency (see Quinion, 2005). According to most accounts, the various Star Trek television series have been shown in over 100 countries and dubbed into dozens of language (Star Trek History, 2002: 2). The official Paramount Star Trek website offers details of where it is currently being shown, and in 2003, this covered the US, Canada, most of Northern and Southern Europe, parts of Eastern Europe, Israel, Australia, New Zealand and some areas of South and Central America, South East Asia and Africa. Most of these were either
, South-east Asian and Portuguese immigrant youth. The area is left unspecified and anonymous, although the film was filmed in the Cité du Franc-Moisin in Saint-Denis.14 Shot on digital video in realistic style with hand-held movement, and deploying for the most part amateur actors, it marks a concerted attempt by Kechiche to reverse the stereotypical image of the banlieue as a problem site of exclusion where young beurs are simply maladapted to the space in which they live – a ‘concrete phobic space’ in the French political mediascape, as Peter Bloom aptly puts it
the war on Stone was not some damascene conversion to liberal politics, but the germination of an angry disillusionment felt by many returning veterans from South- East Asia, exemplified in the 1971 march in Washington, DC by Vietnam Veterans Against the War.7 Having abandoned attempts to record his experiences on paper –a task rendered impossible in jungle conditions –Stone had taken belatedly to photographing the country as a personal record of his time there (Figure 2). The combination of his writing and the stark imagery that he managed to capture on film