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Cinema saved my life
Diana Holmes and Robert Ingram

article written in 1948 asks the reader/spectator ‘mais dites-moi si, en sortant de voir un film italien, vous ne vous sentez pas meilleur, si vous n’avez pas envie de changer l’ordre des choses, mais de préférence en persuadant les hommes…’ 10 (Bazin 1975 b: 264). Admiring also in neo-realism the generous treatment of characters, the fact that ‘Aucun n’est réduit à l’état de chose ou de symbole, ce qui permetrrait de les haïr

in François Truffaut
Open Access (free)
Jon Birger Skjærseth and Tora Skodvin

-state actors, but not regimes, while neo-realism downplays the influence and role of both regimes and non-state actors. Thus, Arts (2000) argues that relevant theories emphasise either regimes or non-state actors, or neither regimes nor non-state actors.3 A number of studies, however, show that non-state actors frequently make a difference in international cooperation.4 The roles of environmental nongovernmental organisations (ENGOs) and the scientific community have received increased attention, while the role of companies in international environmental politics has, until

in Climate change and the oil industry
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Sam Rohdie

one, as cleansing it, as Cézanne cleansed painting. The traditional history of the cinema has been presented as a chronology (a progressive narrative) where each film or group of films cited is made to belong to some kind of order, that is, the citated work as exemplary and illustrative (the ‘silent’ period, neorealism, the Nouvelle Vague, national cinemas, realism, formalism and so on), part of a classification system where every film represents and illustrates the history of the cinema and can be accounted for (counted). Such a history typifies. What Histoire

in Film modernism
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Derek Jarman in Ostia
Alexandra Parsons

his reading and thinking, pronouncing passionately on a variety of subjects and demonstrating unconcern about revising or contradicting earlier opinions – Ellis comments that the two filmmakers were ‘passionate if muddy thinkers’. 5 His films developed from neo-realism to more Brechtian techniques, and he moved from using modern settings to historical and mythic ones. Pasolini was a notorious public figure with unorthodox left-wing politics whose films were the cause of public controversy and subject to government

in Luminous presence
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Pagnol’s legacy
Brett Bowles

unshakable part of twenty-firstcentury French society. If Pagnol deserves to be remembered as a provocative theorist of the relation between speech and image, the most complete auteur of his generation, and a precursor of the new wave and neo-realism, his legacy extends far beyond the field of cinema studies. While the work of more critically acclaimed peers such as Renoir, Carné, and Clair has gradually lost its visibility over time

in Marcel Pagnol
Marcia Landy

, in James Hay’s words, concealed their political message and ‘their rhetorical nature through myths about historical events and figures’. 5 The cinema of the postwar era did not abandon its historical preoccupations. While neo-realism was in reaction against the artificial and stylised historical spectacles of the Fascist era, neo-realism was, none the less, ‘historical in the end’, according to

in Medieval film
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Pagnol as auteur
Brett Bowles

(1938) – this realist mode of production always incorporated theatrically inspired scenes shot in studio. So did Pagnol’s original screenplays, including Merlusse (1935), Cigalon (1935), César , and La Fille du puisatier (1940). His two best post-war films, Naïs (1945) and Manon des sources (1952) were photographed almost entirely on location and confirmed his seminal influence on Italian neo-realism (Leprohon 1976

in Marcel Pagnol
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Kate Ince

1968 : 92). A real ‘wave’, according to Franju, had to be international, have a social dimension, and endure (92), and while German expressionism and Italian neo-realism met these criteria, the nouvelle vague did not. The French cinema movement he did unhesitatingly qualify as a ‘wave’ was the cinema of the late 1930s that came in the wake of the Popular Front of 1936. Nobody had dared call the combined cinemas of Carné

in Georges Franju
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Guy Austin

the more remarkable when one notes that in recent years several previously successful French film directors have been more or less obliged to abandon the cinema, including Léos Carax, Jean-Jacques Beineix and Bertrand Blier.) Chabrol’s forty-year career is in some ways a history of recent French cinema and society: neorealism, the new wave, the trauma of the Algerian War, the political legacy of 1968, the rise of the consumer society

in Claude Chabrol
Philosophy, politics and foreign policy in America’s ‘second modernity’
Vibeke Schou Tjalve and Michael C. Williams

, see W. Sheuerman, Morgenthau (Cambridge: Polity Press, 2009). See particularly, N. Guilhot, ‘The realist gambit: Postwar American political science and the birth of IR theory’, International Political Sociology, 2:4 (2008), pp.  281–​304; and N.  Guilhot, ‘American Katechon:  When political theology became international relations theory’, Constellations, 17:2 (2010), pp. 224–​53. 19 This dilemma also provided one of the prime and generally hidden dimensions of the move from realism to neorealism in the American study of international relations, primarily under the

in American foreign policy