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Bill Marshall

elements from both these films. It was written – with Cahiers critic and filmmaker Olivier Assayas – and shot in the space of a few weeks, in a febrile atmosphere with Téchiné under great professional pressure despite the support of producer Alain Terzian. Martine Giordano’s crisp editing adds to the breakneck pace of its 82 minutes. The film occupies a problematic place in his œuvre in terms both of its very divided critical reception4 and what periodisation might make sense for assessing this auteur. It opens elliptically, with the view from a train arriving at the

in André Téchiné
A cinematic saga
François Dubuisson

Branch Press , 2001 ) 402–3 . 29 This conception will be called into question by the film Munich (USA, 2005), directed by Steven Spielberg, which challenges the legitimacy of the means used to fight Palestinian terrorism. See Yosefa Loshitzky , ‘The Post-Holocaust Jew in the Age of the “War on Terror”: Steven Spielberg’s Munich ’ ( 2011 ) 40 : 2 Journal of Palestine Studies 77–87 . 30 See, however: The Siege (Edward Zwyck, USA, 1996); The Body (Jonas Mccord, USA, 2001); Mogadiscio (Roland Suso Richter, Germany, 2009); Carlos (Olivier

in Cinematic perspectives on international law
Phil Powrie

’artefact’ (Bergala 1983 : 8). 10 The same number of Cahiers du cinéma carried an article by the filmmaker Olivier Assayas on advertising. While recognising something which Beineix has always said, that advertising had recognised the potential of new technologies and had pushed research into visual style forwards, and while being prepared to admire the way in which a filmmaker such as Ridley Scott had used advertising techniques but put

in Jean-Jacques Beineix
Marion Schmid

boys and girls of their age ) commissioned for the French national arts channel La Sept/ARTE. Nine directors of different age groups, including, amongst others, Claire Denis, André Téchiné and Olivier Assayas, were invited to film an autobiographically inspired tale of adolescence set against the backdrop of their own teens. Based on personal memories, the series was thus designed to reflect the spirit, atmosphere and socio

in Chantal Akerman
Towards a cinema of the senses
Martine Beugnet

tormented by the horrifying nature of his or her desires. The work was first envisaged as part of a series of short films commissioned by an American producer, then as a trilogy of supernatural stories taking place in a hotel, with Atom Egoyan and Olivier Assayas 38 as co-directors (Frodon 2001 ). From the start, Denis drew inspiration from Gothic literature, and the short stories of nineteenth

in Claire Denis
Fergus Daly and Garin Dowd

context too, since, as Daney said, he has a ‘chose rare, un don pour la poésie’ (‘that rare thing, a gift for poetry’), while more recently Olivier Assayas declares: ‘He’s a true poet ... he has visions’ (Assayas 2000 ). A tale told by a fool Le monde est constitué de forces qui agissent les unes sur les autres, mais ces forces ne sont pas réductibles à des

in Leos Carax