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the treatment of a victim of political oppression. Denis shot a film in defence of the Sudanese activist Ushari Ahmed Mahmoud. Together with Costa Gavras, she was amongst the few participants who chose the musical clip format: produced in collaboration with French singer Alain Souchon, her film follows, through long travelling shots, the wanderings of a black man in the popular multi-ethnic district of Belleville. The images are set to
British, Scottish? 161 instance Snow’s mainstream account in Capturing Idi Amin) but this remains little discussed. The film achieves this largely by means of the political thriller, a generic dimension that Marx objects to, but her critique of the film overlooks debates about genre and politics that have been found in Film Studies since the 1960s, in the form of the so-called ‘Costa Gavras debates’ which pitted the political thrillers of Costa Gavras against the modernist work of Jean-Luc Godard in a debate over the proper form that political film-making should take
society and its political structures. Films such as Stavisky (Alain Resnais, 1974), Z (Costa Gavras, 1969), Il caso Mattei/The Mattei Affair (Francesco Rosi, 1972), Il conformista/The Conformist or Strategia del ragno/The Spider’s Stratagem (both Bernardo Bertolucci, 1970) are examples of just how far these didactic, critical films aimed to go, usurping stereotypical
Introduction Born in 1939 in Paris, Jean-Claude Grumberg is one of France’s best-known contemporary playwrights. A prolific writer, he has authored over thirty plays while also writing for cinema (notably having co-written the scripts of François Truffaut’s Le Dernier Métro ( The Last Metro ) and Costa-Gavras’s Amen ) as well as for young audiences. Key recurrent themes