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Stuart Hanson

everywhere the newer post-war cinemas offered comparative or indeed greater luxury than the best live theatres. Increasingly, middle-class patrons were to be found going to the newer cinemas; the existence of a clientele of similar social standing was important in fostering the cinema-going habit. There was not universal approval for this new cultural trend. In 1919 the Editor of The Play Pictorial visited several cinemas and

in From silent screen to multi-screen
Epstein’s philosophy of the cinema
Christophe Wall-Romana

Epstein was in eclipse (1945–80). Or, to put it another way, Epstein’s cinema and his philosophy of the cinema have, according to Deleuze’s tacit proposal, become subsumed within post-war films as their latent principle of composition. Hence, when Deleuze defines the time–image of post-war cinema, his formulation appears to describe Madeline’s animated portrait in La Chute de la maison Usher (to which he refers elsewhere in the Cinema books): A two-sided image, actual and virtual is formed. It is as if an image in a mirror, a photograph, a postcard, came to life

in Jean Epstein
Abstract only
Performance, parody, identity
Marion Schmid

’s haunted and haunting film, at once poetic and uncanny, as Reynaud remarks, is a touching attempt to respond to one of post-war cinema’s most pressing questions: ‘comment peut-on faire du cinéma – après Auschwitz?’ 38 (Reynaud 2004 : 201). References Akerman , Chantal ( 2004 ), Chantal Akerman: Autoportrait en cinéaste , Editions du Centre Pompidou

in Chantal Akerman
Sarah Leahy
and
Isabelle Vanderschelden

. Referring to post-war cinema, the film historian Jill Forbes (1992: 171) suggests that ‘the output of [comedy] directors and actors is often vulgar, formulaic and repetitive’ and ‘of less interest than other genres when examining how the cinema has developed’. Grassin and Sender ( 2011 : 12) also identify trends that contribute to the perception that comedy is a less cinematic genre, whose success is due to

in Screenwriters in French cinema
Ben McCann

: 36) argue defined a large part of French post-​war cinema.52 This model involved an ageing woman who is no longer sexually attractive but whose ‘cupidité et […] mesquinerie sont telles qu’elles sont perçues comme pur sadisme’.53 Burch and Sellier also note that the father–​daughter relationship between Chatelin and Catherine is representative of a particular kind of affiliation in much of post-​war French cinema. When she dances with Chatelin after having just danced with Gérard, she tells him that ‘Je n’aime pas les jeunes gens’ (‘I don’t care much for young people

in Julien Duvivier
James S. Williams

philosophy, Gilles Deleuze formalised a seismic change in cinematic space, perception and subjectivity in terms of the transformation of the ‘image-movement’ of silent and classical cinema, marked by an aesthetics of action and movement, into the ‘image-temps’ of modern (essentially post-war) cinema. ‘Duration’ (‘la durée’) – which Deleuze, following Bergson, saw as immanent to the universe – took over ‘action’, for cinema could no longer relay completed events (the result in large part of the crisis in representation following the Holocaust). The ‘event’ is now always in

in Space and being in contemporary French cinema