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Guy Austin

stylisation and even formal experimentation, the films of le jeune cinéma are usually raw and naturalistic, with a documentary aesthetic that reflects their often bleak socio-political content. As a result, this new genre has also been termed ‘new realism’ or ‘the return of the real’ (see for example Powrie 1999 ). Possibly influenced by the ultra-naturalistic shooting practices laid down by Lars von Trier

in Contemporary French cinema
Richard Hewett

25 1 Scaling down in early studio realism In the early 1950s, theatre still provided a starting point for the majority of actors working for the BBC, and the processes of live television drama in some ways resembled those of the stage. Movements were carefully planned and lines learnt through repetition in rehearsal rooms before transferring to the studio on the day of broadcast; the performance, once begun, could not be interrupted if an actor ‘dried’ or even died,1 replicating and arguably amplifying the pressures of stage work. However, to assume that this

in The changing spaces of television acting
Matt Sleat

5 Bernard Williams and the structure of liberal realism The hankering for political consensus that lies at the heart of liberal theory is not some epiphenomenal offshoot of an underlying epistemological commitment to a form of Platonism or value monism, but is driven by the moral commitment to place theoretical and practical limitations on the ends to which political coercive power can be put. This is a noble objective. Yet as we saw in the previous chapter, even attempts to modify the nature and content of the required consensus to a set of less substantial but

in Liberal realism
Richard Rushton

2  Realism, reality and authenticity  3  Searching for reality: Chronique d’un été (Jean Rouch, Edgar Morin, 1961) I n terms of the distinction outlined in the previous chapter of this book, one might ordinarily think that André Bazin’s position in the history of film theory is set. He is a realist and that means, quite simply, that his understanding of cinema is predicated on a distinction between illusion and reality. Some films –  especially those with excessive editing, or with fanciful stage settings – will deliver illusion, while others – particularly

in The reality of film
Heidi J. Holder

are ultimately suppressed and supplanted by English law. The exciting illogic of domestic melodrama is thus replaced by a ‘realistic’ lesson in the inevitable and virtuous effects of Empire. Alongside the presumed moral and political ‘realism’ of these plays there was another factor that further complicated the relation of genre to setting. Early colonial melodrama had strong

in Acts of supremacy
A theory of foreign policy
Stephen Benedict Dyson

2 Neoclassical realism and leader psychology: a theory of foreign policy ‘As a professor’, recalled Henry Kissinger after having completed careers in both academia and in government, ‘I tended to think of history as run by impersonal forces. But when you see it in practice, you see the differences personalities make.’1 I argue in this chapter that Kissinger the professor and Kissinger the statesmen were both correct: ‘impersonal forces’ and ‘personalities’ combine and interact in any compelling explanation of foreign policy choices. Such explanations, while

in The Blair identity
Bulletin of the John Rylands Library
Edwin Borchard between New Haven and Berlin
Jens Steffek and Tobias Heinze

In this chapter we show how Germany’s fight against the Versailles peace settlement was intertwined with the rise of realism in the US. 1 That early International Relations (IR) realism in North America had a notable German connection is undisputed in the literature. The historiography of IR so far located this connection in the personal history of Jewish émigré scholars, such as Hans J. Morgenthau, John (Hans-Hermann) Herz and Arnold Wolfers. These academics witnessed the collapse of the Weimar Republic and Hitler’s rise to power, which instilled in them

in Prussians, Nazis and Peaceniks
The Gothic-Fantastic in Soviet Socialist Realist Literature
Muireann Maguire

The European Gothic novel was an enormous influence on nineteenth-century Russian fiction, as shown by the works of Pushkin, Dostoievskii and many other major novelists. However, both Russian and Western critics have ignored the survival of Gothic-fantastic themes and motifs in Russian literature of the Soviet period, not only in fiction by dissident writers but also within the officially promoted genre of Socialist Realism. The Gothic-fantastic mode continued to function as a resource for satire, speculation, and ideological re-evaluation throughout the Soviet period and up to the present day. This article identifies and analyses three Gothic texts selected from mainstream Soviet literature between 1920 and 1940 and discusses their interaction with ideological trends.

Gothic Studies
David Del Principe

Del Principe argues that a compelling historical and political vision of post-unification Italy lies beneath the preternatural façade of Ugo Tarchettis Fantastic Tales, and that the authors transgressive approach to social realism is a reflection of the vast, cultural transformations of the period. Del Principe proposes correlations between sexual and political realms surfacing in Tarchettis narrative as indicators of mutating class structure and emerging capitalism. An examination of spatial allegories engages a discussion of psychic and physical modes of hysteria and xenophobic reactions that stem from the nationalistic fervor of post-unification Italy.

Gothic Studies