This chapter presents a profile of the French film director Maurice Pialat. Pialat's work inspires comparison with legendary figures such as Jean Renoir and Robert Bresson, yet he does not have the international reputation one might expect, given his gifts as a director and his importance in French cinema history. Pialat's death in 2003 inevitably situated him as a filmmaker of the 1980s, the decade in which his work began to receive serious critical attention and attracted a broader public. Yet by 1983, when A nos amours won the prestigious Prix Louis Delluc and the César for best film, he had been making films for over twenty years. Perhaps one of the most telling moments in Maurice Pialat's ongoing relationship with film and the French film-going public was the scandal at Cannes over the attribution of the Palme d'or in 1987. If the name Pialat is not without significance to the French filmgoing public, it is partly because he acquired the reputation of a singularly difficult and demanding director, who provoked and psychologically abused his actors and collaborators.
This chapter opens with a general discussion on Mike Leigh, who is considered to be Britain's greatest film director and who has carved a unique niche in the film making industry. Among his recent films, Vera Drake was released thirty-four years since his debut feature. Since his return to the cinema, he has consistently written and directed a film every two or three years, with occasional returns to the theatre, the medium in which he began his career. He was not, therefore, an obscure talent who has been waiting to be discovered. Even now more awards have come his way from abroad than at home and much of the critical response to his work in the UK has been ambivalent. The ‘breakthrough’ of Vera Drake was certainly preceded by a turning point in his reputation—and his success at the box office—with the release of Secrets and Lies in 1996, but even that came a quarter of century after Bleak Moments. He worked painstakingly with his actors to create fully rounded characters whose lives and personalities are too complex to be shoehorned into the tidy conventions of realistic drama derived from the theatrical concepts of the well-made play.
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard
As Stephen Crofts has shown, notions of
the filmdirector as auteur had surfaced sporadically in Europe for
thirty years prior to the moment often taken as the concept’s source
– the publication in 1954 of François Truffaut’s ‘Une
Certaine Tendance du cinéma français’. 2 Crofts believes that ideas of authorship originated in
Europe because a larger proportion of
Sequence and the rise of auteurism in 1950s Britain
socio-economic, they were at the time mostly discussed and dealt with in
aesthetic terms, and we saw eventually the emergence of the European art
cinema, a new kind of film, specifically aimed at the literate and
professional middle classes.
One of the most important European contributions to the
film history of the 1950s was, thus, undoubtedly the sudden rise of the
auteur, the filmdirector
This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused. Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends. The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences. Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.
, par cette puissance
de l’imprévu en laquelle réside la vie même, d’atteindre la figure
secrète, but de toute oeuvre d’art.
(A filmdirector is a filmmaker who prefers the real to the true, the
real-seeming to the truth, the perfection of direction to the awkward fullness of life in the idea; he is insensitive to the poetry of
misspellings (mismatches, disdain for the realism of lighting)
which, for the metteur en scène, are the unintended c onsequence
of the pleasure of filming, to invent, and then to exaggerate. What
does it matter to a painter that the shadows on
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
In this broad sweep, Mayo explores dominant European discourses of higher education, in the contexts of different globalisations and neoliberalism, and examines its extension to a specific region. It explores alternatives in thinking and practice including those at the grassroots, also providing a situationally grounded project of university–community engagement. Signposts for further directions for higher education lifelong learning, with a social justice purpose, are provided.
This book presents new research on the histories and legacies of the German
Expressionist group, Der Blaue Reiter, the founding force behind modernist
abstraction. For the first time Der Blaue Reiter is subjected to a variety of
novel inter-disciplinary perspectives, ranging from a philosophical enquiry into
its language and visual perception, to analyses of its gender dynamics, its
reception at different historical junctures throughout the twentieth century,
and its legacies for post-colonial aesthetic practices. The volume offers a new
perspective on familiar aspects of Expressionism and abstraction, taking
seriously the inheritance of modernism for the twenty-first century in ways that
will help to recalibrate the field of Expressionist studies for future
scholarship. Der Blaue Reiter still matters, the contributors argue, because the
legacies of abstraction are still being debated by artists, writers,
philosophers and cultural theorists today.
This book examines the relationship between environmental justice and citizen
science, focusing on enduring issues and new challenges in a post-truth
age. Debates over science, facts, and values have always been pivotal within
environmental justice struggles. For decades, environmental justice activists
have campaigned against the misuses of science, while at the same time engaging
in community-led citizen science. However, post-truth politics
has threatened science itself. This book makes the case for the importance of
science, knowledge, and data that are produced by and for ordinary people living
with environmental risks and hazards. The international, interdisciplinary
contributions range from grassroots environmental justice struggles in American
hog country and contaminated indigenous communities, to local environmental
controversies in Spain and China, to questions about “knowledge justice,”
citizenship, participation, and data in citizen science surrounding
toxicity. The book features inspiring studies of community-based participatory
environmental health and justice research; different ways of sensing,
witnessing, and interpreting environmental injustice; political strategies for
seeking environmental justice; and ways of expanding the concepts and forms of
engagement of citizen science around the world. While the book will be of
critical interest to specialists in social and environmental sciences, it will
also be accessible to graduate and postgraduate audiences. More broadly, the
book will appeal to members of the public interested in social justice issues,
as well as community members who are thinking about participating in citizen
science and activism. Toxic Truths includes distinguished contributing authors
in the field of environmental justice, alongside cutting-edge research from
emerging scholars and community activists.