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Maurice Pialat, the outsider
Marja Warehime

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.

in Maurice Pialat
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‘You’ve gotta laugh’
Tony Whitehead

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.

in Mike Leigh
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

above) 1 As Stephen Crofts has shown, notions of the film director 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

in Lindsay Anderson
Open Access (free)
Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

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 film director

in British cinema of the 1950s
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Sam Rohdie

, par cette puissance de l’imprévu en laquelle réside la vie même, d’atteindre la figure secrète, but de toute oeuvre d’art. (A film director 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

in Film modernism
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An introduction to François Ozon
Andrew Asibong

analysed film – its history, its theory, its practice – and as a cinéaste who has, from the start of his career, but most obviously in a film like 8 femmes , delighted in displaying his brilliant knowledge of cinema. He obtained a Master’s degree in cinematographic studies at the University of Paris I (he wrote his dissertation on the film director Maurice Pialat), and subsequently attended the prestigious French film school

in François Ozon
Rob Stone

video that he edits on his home computer. He also warrants this book, whose author has taken advantage of his being alive, busy and approachable to base it on a series of interviews and observational encounters that occurred throughout the making of La pelota vasca. Justification for a book on Medem is complicated by the fact that any writing on a film director must position itself in relation to the debate over auteurism, ‘a belief in the primary creative importance of the director in filmmaking, often combined with a critical advocacy of the works of certain strong

in Julio Medem
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Peter Hutchings

Career overview So far as his career in cinema was concerned, Terence Fisher was always something of a latecomer. He did not enter the film industry until he was twenty-nine years old, he did not become a film director until he was forty-three, and he did not direct his first horror film (the type of film upon which his reputation was built) until he was fifty-two. To a certain extent, he was also a

in Terence Fisher
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Author: Steve Blandford

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.

Author: Karen Fricker

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.