British art cinema: Creativity, experimentation and innovation brings together a selection of essays from both new and established scholars that engage with how far artistic creativity, entertainment and commerce have informed a conceptual British ‘arthouse’ cinema. The chapters show that rather than always sitting in the shadow of its European counterparts, for example, British cinema has often produced films and film-makers that explore intellectual ideas, and embrace experiment and innovation. The book examines the complex nature of state-funded and independent British filmmaking, the relationship between the modernist movement and British cinema, and the relationship between British cinema, Hollywood and US popular culture. The chapters cover the history of British cinema from the silent period to the 2010s. Film-makers explored in detail include Alfred Hitchcock, Michael Powell and Emeric Pressburger, Derek Jarman, Ken Russell, Horace Ové, Joseph Losey, John Krish, Humphrey Jennings, Nicolas Roeg, and lesser-known artists such as Enrico Cocozza and Sarah Turner. There are new essays on the British New Wave, the 1980s, poetic realism and social realism, the producer Don Boyd, the Black Audio Film Collective, films about Shakespeare, and the work of the Arts Council in the aftermath of World War Two.
Spain as an entity and Spanish cultural identity are no less difficult to pin
down as the concept of the nation state is simultaneously assailed by political,
economic and cultural globalisation and the fragmentation of the state by the
demands of its autonomous communities. This book presents a coherent picture of
the main narrative, thematic, stylistic and representational trends which have
characterised the recent cinema produced in Spain. It seeks to explore the
obsession of Spanish cinema with the past and its role as part of a wider
recuperation industry. The book examines the varied forms of historical cinema
ranging from literary adaptation and period drama to retro thriller and musical.
It offers an analysis of other main forms of genre cinema which have dominated
the commercial industry and the popular imagination in Spain since the 1970s.
The book explores constructions of gender and sexuality across a wide range of
examples taken from a variety of contemporary movies. It also focuses on cinema
in the autonomous communities, mainly Catalonia and the Basque Country. The
period 1993 to 1994 was perhaps one of the most difficult for the film industry
in post-Franco Spain, particularly in relation to production totals and audience
figures. The setting Institut de Cinema Catalá offered a new forum for
debate and inaugurated the first of a number of attempts to define what Catalan
film and a Catalan film industry ought to be doing and how Catalan professionals
should develop their sector.
This book aims to demystify the place and power of the screenwriter within French film production, in creative and artistic terms, but also in the context of film criticism and film discourse more generally, whether that be in mainstream, popular or auteur cinema. Critical discourses on French cinema have tended to consider words to be of secondary importance to the image, regarding screenwriters as either over-dominant or completely eclipsed. The reality is, of course, that screenwriting has remained an integral part of the industry since the coming of sound. This book takes a number of key figures in the history of French screenwriting from the transition to sound to the present day, in order to explore the shifting function and position of screenwriters and major trends in screenwriting practice. It considers the industrial categorisation of screenwriting as adaptation, script development and dialogue writing, and explores creative practices around these three specialist areas – which are rarely as clearly defined as film credits might have us believe. It addresses and questions the myths that have emerged around certain writers in critical discourses, as well as the narrative mythologies that these writers have helped to shape in their films: from fatalism and the working-class (anti)hero to the small-minded petit bourgeois; from the neurotic protagonist to the naive fool of comedy. In doing so, it also reflects on the methodological challenges of screenwriting research, and the opportunities opened up by shedding light on these frequently neglected figures.
This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.
This book is a collection of essays that offers a new lens through which to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The films analysed span a period of some 40 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. The book offers a new lens to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic language and aesthetics. At the heart of this project lies an examination of the ways in which established auteurs and younger generations of filmmakers have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. The films discussed in the book encompass different genres, both popular and more select arthouse fare, and are made in different languages: English, Basque, Castilian, Catalan, and French. Regarded universally as a classic of Spanish arthouse cinema, El espíritu de la colmena/The Spirit of the Beehive has attracted a wealth of critical attention which has focused on political, historical, psychological and formal aspects of Víctor Erice's co-authored film-text. Luis Bunuel's Cet obscur objet du désir/That Obscure Object of Desire, Catalan filmmaker Ventura Pons' Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, Francisco Franco's El Dorado, Víctor Erice's El sol del membrillo/The Quince Tree Sun, and Julio Medem's Vacas/Cows are some films that are discussed.
Despite the well-documented difficulties in production, distribution and exhibition that it has faced over the last fifty years, African cinema has managed to establish itself as an innovative and challenging body of filmmaking. This book represents a response to some of the best of those films. It is the first introduction of its kind to an important cross-section of postcolonial African filmmakers from the 1950s to the present. The book brings together ideas from a range of disciplines, film studies, African cultural studies and, in particular, postcolonial studies, to combine the in-depth analysis of individual films and bodies of work by individual directors with a sustained interrogation of these films in relation to important theoretical concepts. It provides both an overview of the director's output to date, and the necessary background to enable readers to achieve a better understanding of the director's choice of subject matter, aesthetic or formal strategies, ideological stance. The book focuses on what might loosely be called the auteur tradition of filmmaking, closely associated with Francophone African cinema, which explicitly views the director as the 'author' of a work of art. The aim is to re-examine the development of the authorial tradition in Africa, as well as the conception of both artist and audience that has underpinned it at various stages over the past fifty years. The works of Youssef Chahine, Ousmane Sembene, Med Hondo, Djibril Diop Mambety, Souleymane Cissé, Flora Gomes, Idrissa Ouédraogo, Moufida Tlatli, Jean-Pierre Bekolo, and Darrell James Roodt are discussed.
This book provides an introduction to French film studies. It concentrates on films which have had either a theatrical or video release in Britain, or which are available on video or DVD from France. Most avant-garde film-makers, including Germaine Dulac, were unable to continue in the 1930s, faced with the technical demands and high production costs of the sound film. Exacerbated by the Depression, and above all by the financial collapse of both Gaumont and Pathé, film production fell from 158 features the previous year to only 126 in 1934, and 115 in 1935. While poetic realism was at its height, a talismanic figure in post-war film was faced with a generally lukewarm reception from critics and audiences. Thanks largely to German finance and also to an influx of filmmakers replacing those who had departed, after 1940 French film. If 1968 marked a watershed in French cinema's engagement with politics and history 1974 did the same for representations of sexuality. In that year, pornography entered mainstream French cinema. Although film-making remains male-dominated in France as elsewhere, 'more women have taken an active part in French cinema than in any other national film industry'. A quarter of all French films made in 1981 were polars, and many of those were box-office successes. French fantasy has had a particular national outlet: the bande dessinée. The heritage film often takes its subject or source from the 'culturally respectable classicisms of literature, painting, music'.
In terms of the so-called 'clash of civilisations' after '9/11', Islamic states such as Algeria have too often been perceived in the West as 'other' and hence as threatening. This book, via an analysis of cinema, provides a discussion on some misunderstandings and assumptions about Algeria, which remains to a large extent underrepresented or misrepresented in the UK media. It is about Algerian national cinema and illuminates the ways in which the official mythologising of a national culture at the 'centre' of the postcolonial state has marginalised the diverse identities within the nation. Tahia ya didou occupies a pivotal position between fiction and documentary, capturing the hectic modernization of the Boumediene era while reflecting back on the aftermath of historical trauma. La Citadelle presents gender differences as culturally engrained and patriarchal power as secure. Youcef, Bab El-Oued City and Rome plutôt que vous present differing visions of how a Freudian melancholia in the shadow of a crushed revolt might relate to Algerian experience after Black October. Lettre à ma soeur listens to the voices of the subaltern; the film is a sense of re-emergence that follows the initial insurgency of Nabila's activism, the trauma of her killing and the subsequent years of silence and self-imposed incarceration.
What is art cinema?
Definitions of art cinema have long been contested, but the generic term ‘art cinema’ has generally come to stand for feature-length narrative films that are situated at the margins of mainstream cinema, located somewhere between overtly experimental films and more obviously commercial product. Whether it is through a modernist, drifting, episodic approach to storytelling; a complex engagement with high culture; the foregrounding of a distinct authorial voice; or a simple refusal to bow to
Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine.
It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes
(Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this
provocative text, Caetano criticised the way Argentine cinema had usually been made
and, in a form of manifesto, he presented the principles that his own films – and
those of many other young directors – have followed since then. Although New
Argentine Cinema has been thoroughly studied in the English-speaking academia, only a
few authors have made reference to this seminal text. Being aware of the principles
set in this manifesto more than twenty years ago will help researchers and students
understand some important features that tend to be overlooked when exploring not only
Argentinean cinema, but also many other cinemas of the region.