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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

A distinctive politics?
Author: Richard Taylor

English radicalism has been a deep-rooted but minority tradition in the political culture since at least the seventeenth century. The central aim of this book is to examine, in historical and political context, a range of key events and individuals that exemplify English radicalism in the twentieth century. This analysis is preceded by defining precisely what has constituted this tradition; and by the main outline of the development of the tradition from the Civil War to the end of the nineteenth century. Three of the main currents of English radicalism in the twentieth century have been the labour movement, the women’s movement and the peace movement. These are discussed in some detail, as a framework for the detailed consideration of ten key representative figures of the tradition in the twentieth century: Bertrand Russell, Sylvia Pankhurst, Ellen Wilkinson, George Orwell, E.P. Thompson, Michael Foot, Joan Maynard, Stuart Hall, Tony Benn and Nicolas Walter. The question of ‘agency’ – of how to bring about radical change in a predominantly conservative society and culture – has been a fundamental issue for English radicals. It is argued that, in the twentieth century, many of the important achievements in progressive politics have taken place in and through extra-parliamentary movements, as well as through formal political parties and organisations – the Labour Party and other socialist organisations – and on occasion, through libertarian and anarchist politics. The final chapter considers the continuing relevance of this political tradition in the early twenty-first century, and reviews its challenges and prospects.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

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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
Open Access (free)
Paul Henley

obligation to address non-specialist audiences did not necessarily result in ‘dumbing down’, but rather could serve as the catalyst for experienced film directors to identify the essence of an issue or set of circumstances so that it could be presented in a readily accessible manner. This is a skill that, proverbially at least, many academics lack. At the same time, the technical standards of broadcast television required craft skills that were far greater than anything most academics could manage by themselves. Although academics like to stress that

in Beyond observation
K. J. Donnelly

in the cinema. For the House of Love, this technique undermined the format’s dominant sense of frontal on-stage performance and, further, undermined the idea of choreography for the camera, as the group were shown in undramatic poses rather than mugging for the camera as was and is the norm of pop video. Art and the pop promo During the 1980s, there was a significant cross-over between British art cinema and pop videos. One of the most significant British art film directors, Derek Jarman, had already used popular music in his feature films. The Tempest (1979

in Experimental British television
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Kate Ince

used to refer to a film director by Jean Epstein in 1921: her reason for making this point, however, is not to upstage the centrality of Truffaut and other critics at Cahiers du cinéma in inaugurating the politique des auteurs in the 1950s, but simply to emphasise that ‘historically, the most influential work on film authors has taken place in the pages of select journals and cultural institutions in France, England and

in Five directors
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Sam Rohdie

could have no fictional motivation, no justification. If you look at the films of the 1930s, they are marked (from film to film, director to director) not only by their conventionality but by the modesty of their conventions – few if any close-ups, no action or gesture or word that was not clearly motivated and understood, no truly objective shooting so that, in the movement from one shot to another, a dramatic reason or an exchange of looks or a continuity of points of view would be established (the shot/reverse-shot was a crucial instrument for maintaining the

in Film modernism