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genre in Franju’s longs métrages
Kate Ince

genres, there is no genreless text; there is always a genre and genres, yet such participation never amounts to belonging’ (48). Les Yeux sans visage and Judex remain Franju’s best-known films, internationally as well as in France, and this is almost certainly because of their strongly marked relationship to cinéma fantastique . The critical and commercial reception of Franju’s work has always been dominated by the

in Georges Franju
Abstract only
Alison Smith

responding to an increasingly politicised public. This seems to have led to an assumption of political importance that Mocky was more than willing to reinforce in interviews. Thus when Cinéma 70 mentions Solo ’s ‘natural wish to be a film born of May ’68 … to “continue the fight” in spirit and form’ (Mocky 1970b : 112), 1 Mocky claimed it almost as a revolutionary act: ‘We must try to “continue the fight” as the young people in Solo do; in fact it’s a film of resistance, the young people’s maquis against the oppressors in power, but

in French cinema in the 1970s
Vito Zagarrio

The one-shot sequence – the articulation of an entire scene through a single, unbroken long take – is one of the cinema’s most important rhetorical devices and has therefore been much used and widely theorised over the years. This article provides a brief overview of these theories and of the multiple ways in which the one-shot sequence has been used both in world cinema (in general) and Italian cinema (in particular) in order to contextualise its use by one of Italian cinema’s best-known and most significant practitioners, Paolo Sorrentino. Through close analyses of one-shot sequences in Sorrentino’s films L’uomo in più/One Man Up, Le conseguenze dell’amore/The Consequences of Love, This Is the Place and Il divo – La vita spettacoloare di Giulio Andreotti – the article argues that Sorrentino’s predilection for the device is best explained by the wide variety of functions that it serves (as a mark of directorial bravura and auteur status; as a self-reflexive device and meditation on the cinematic gaze; as a political tool; and as a means of generating emotion). While rooted in history, Sorrentino’s use of the one-shot sequence thus transcends its position within Italian film history and discourse.

Film Studies
A study of Georg Lukács’ writings on film, 1913–71
Author: Ian Aitken

This book explores Georg Lukács' writings on film. The Hungarian Marxist critic Georg Lukács is primarily known as a literary theorist, but he also wrote extensively on the cinema. These writings have remained little known in the English-speaking world because the great majority of them have never actually been translated into English until now. This book contains the most important writings and the translations. This book thus makes a decisive contribution to understandings of Lukács within the field of film studies, and, in doing so, also challenges many existing preconceptions concerning his theoretical position. For example, whilst Lukács' literary theory is well known for its repudiation of naturalism, in his writings on film Lukács appears to advance a theory and practice of film that can best be described as naturalist. Lukácsian film theory and cinema is divided into two parts. In part one, Lukács' writings on film are explored, and placed within relevant historical and intellectual contexts, whilst part two consists of the essays themselves.

The creative tension
Jeffrey Richards

broadcasting. Silvey’s research revealed the popular preference for variety (93%), theatre and cinema organs (82%), military bands (72%), musical comedy (69%), dance music (68%), plays (68%), and light music (65%). Apart from plays, the survey reveals the overwhelming desire for variety and music. At the other end of the scale, came grand opera (21%), violin recitals (19%), serial readings (12%) and chamber music (8%). 9 The listening figures certainly

in Cinema and radio in Britain and America, 1920–60

A generation ago, Spain was emerging from a nearly forty-year dictatorship. This book analyses the significant changes in the aesthetics, production and reception of Spanish cinema and genre from 1990 to the present. It brings together European and North American scholars to establish a critical dialogue on the topic of contemporary Spanish cinema and genre while providing multiple perspectives on the concepts of national cinemas and genre theory. The book addresses a particular production unit, the Barcelona-based Fantastic Factory as part of the increasingly important Filmax group of companies, with the explicit aim of making genre films that would have an appeal beyond the Spanish market. It explores the genrification of the Almodovar brand in the US media and cinematic imaginary as a point of departure to tackle how the concepts of genre, authorship and Spanish cinema itself acquire different meanings when transposed into a foreign film market. Melodrama and political thriller films have been a narrative and representational form tied to the imagining of the nation. The book also examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It looks briefly at the ways in which the letter acts as one of the central melodramatic gestures in Isabel Coixet's films. After an analysis of the Spanish musical from the 1990s until today, the book discusses Spanish immigration films and some Spanish-Cuban co-productions on tourism and transnational romance.

Author: Deborah Martin

Since the release of her debut feature, La ciénaga, in 2001, Argentine director Lucrecia Martel has gained worldwide recognition for her richly allusive, elliptical and sensorial film-making. The first monograph on her work, The Cinema of Lucrecia Martel analyses her three feature films, which also include La niña santa (2004) and La mujer sin cabeza (2008), alongside the unstudied short films Nueva Argirópolis (2010), Pescados (2010) and Muta (2011). It examines the place of Martel’s work within the experimental turn taken by Argentine cinema in the late 1990s and early 2000s, a trend of which Martel is often described as a major player, yet also explores correspondences between her work and other national and global filmmaking trends, including the horror genre, and classic Hollywood. It brings together the rich and diverse critical approaches which have been taken in the analysis of Martel’s work – including feminist and queer approaches, political readings and phenomenology – and proposes new ways of understanding her films, in particular through their figuring of desire as revolutionary, their use of the child’s perspective, and their address to the senses and perception, which it argues serve to renew cinematic language and thought.

Guy Austin

Algerian films where the father is absent, such as Bab El-Oued City (Allouache, 1994), where the brother plays the role of patriarch, or Le Vent des Aurès (Lakhdar-Hamina, 1966), Rachida (Bachir Chouikh, 2002), Viva Laldjérie (Mokneche, 2004) and Délice Paloma (Mokneche, 2007), where women’s mobility is predicated on the death or absence of the father, Algerian cinema tends to reflect the fact that ‘The patriarchal

in Algerian national cinema
Tim Bergfelder

German cinema and film noir: influence and reception It has been suggested that the films made by German émigrés in 1940s Hollywood, including many noir classics, could be conceived of as a national cinema in exile, as the kind of German cinema ‘that might have been’ had Hitler not come to power. 1 More recently, however, Thomas Elsaesser has challenged this narrative of noir

in European film noir
Author: Ruth Barton

Written by one of the leading authorities on Irish cinema, Irish cinema in the twenty-first century is an important contribution to debates on the possibility of a national cinema in the age of globalization. Designed to be accessible to students and to provide guidance to lecturers in structuring a course on Irish cinema, Ruth Barton’s book is divided by genre and theme. Chapters cover new areas in Irish film production, such as the creative documentary, animation and the horror film, and revisit key themes, including the representation of history, post-Troubles cinema and Northern Ireland, rural representations and the cinema of the city. Each chapter is followed by the analysis of a short film. Barton’s writing throughout is informed by theories of globalisation, the transnational, cultural trauma and spatiality. One of her key concerns is over questions of gender representation, but equally how the new social structures of Ireland from the Celtic Tiger to today are treated in the films discussed. Irish cinema in the twenty-first century discusses the work of leading filmmakers – Lenny Abrahamson, John Crowley, Neil Jordan, the McDonagh brothers and Jim Sheridan – as straddling both the local and the global industries, with a particular focus on certain films as exemplary case studies.

This book will appeal to third-level students in film studies and Irish studies, academics and those interested in how Irish cinema has developed in the twenty-first century.