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Des O’Rawe

Brooklyn, the brothers soon made friends with other Brooklyn-­based artists and intellectuals, many of who were also recent refugees from post-­war Europe. The diary films began in the early 1950s as a pastime that accidentally acquired larger expressive and historical significance. Paradoxically, it is largely because of their incidental style, their apparent tendency towards spontaneity, snapshot improvisation, and flicker-­montage techniques, that they can constitute such a distinctive record of New York’s post-­war film and wider artistic culture. Mekas’s creative

in Regarding the real
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Kate Ince

the United States’ (Wright Wexman 2003 : 2). Attacking the Tradition of Quality they saw as dominating French post-war film production, Truffaut and his fellow critics instead championed ‘moviemakers who managed to produce visually distinctive films under the constraints of the Hollywood studio system’ (Wright Wexman 2003 : 2–3). Their policy (politique ) of looking at films in terms of authors was highly political (une politique can also be

in Five directors
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Kinga Földváry

savage or the comical crazy Indian, which still informs McLintock! (1963, dir. Andrew V. McLaglen) to a certain extent, post-war films began to ascribe individual features to Native Americans, while also showing how, in the glorious story of westward expansion, their role was that of the victim, a vanishing race that was swept away as collateral damage by industrialisation, which forged the future of a prosperous America. This idea of the ‘Vanishing American’ (the phrase became commonly used after the title of a 1925 silent film, directed by George B. Seitz

in Cowboy Hamlets and zombie Romeos
Philip Gillett

–49 (London: Routledge, 1992), p. 152. 12 Pearl Jephcott, Rising Twenty: Notes on Some Ordinary Girls (London: Faber & Faber, 1948), p. 156. 13 One example is Melinda Mash, ‘Stepping out or out of step? Austerity, affluence and femininity in two post-war films’, in

in The British working class in postwar film
Resisting fascism through the oneiric unconscious
Emily-Rose Baker

), Concentrationary Art: Jean Cayrol, the Lazarean and the Everyday in Post-war Film, Literature, Music and the Visual Arts ( Oxford : Berghahn Books ), 33 – 48 . Cixous , Hélène ( 2006 ), Dream I Tell You , trans. Beverley Bie Brahic ( New York : Columbia University Press

in Dreams and atrocity
Concentrationary cinema and oneiric representation in Claire Denis’ High Life
Rob Hether

Max Silverman (eds) ( 2019 ), Concentrationary Art: Jean Cayrol, the Lazarean and the Everyday in Post-war Film, Literature, Music, and the Visual Arts ( New York : Berghahn ). Rascaroli , Laura ( 2002 ), ‘ Oneiric Metaphor in Film Theory ’, KINEMA , Fall, 1 – 11

in Dreams and atrocity

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

Martin O’Shaughnessy

structure potentially opened up space for directorial expressivity but suggests that this space was rarely if ever exploited for that end. Turning specifically to Renoir, he writes: (N)o thematic or stylistic unity is apparent in the films directed by Renoir: some but not all his films between 1935 and 1939 relate to the Popular Front; most of his post-war films promote a

in Jean Renoir
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‘Do push off, there’s a good chap’
Andrew Roberts

-war reconstruction in peacetime would be but another form of protecting society. Here this sense of determination was seen to be for the national good, but such characteristics would be treated with greater ambivalence during the 1950s. The first post-war film of Mills was as Pip in Great Expectations , but the role, described by David Lean as ‘a coat hanger for all the wonderful garments that will be hung on you’ (quoted in Williams 2014 : 47), evoked a less interesting performance than in the film noir The October Man . Gill Plain notes that by the mid-1940s the cinema

in Idols of the Odeons
Britain’s ‘bad blonde’
Andrew Roberts

–1951 , London : Bloomsbury . Gillett , Phillip ( 2003 ), The British Working Class in Post-War Film , Manchester : Manchester University Press . Gilliatt , Penelope ( 1990 ), To Wit: Skin and Bones of Comedy , New York : Charles Scribner’s Sons . Harding , Bill ( 1978 ), The Films of Michael Winner , London : Frederick Muller . Harper , Sue ( 2000 ), Women in British Cinema: Mad, Bad and Dangerous to Know , London : Continuum . Harper , Sue and Porter , Vincent ( 2003 ), British Cinema of the 1950s

in Idols of the Odeons