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Ménilmontant, Le Sang des bêtes, Colloque de chiens
Erik Bullot

6 Margins and thresholds of French cinema: Ménilmontant, Le Sang des bêtes, Colloque de chiens Erik Bullot French cinema since the New Wave has repeatedly manifested a desire for a juste milieu by seeking to strike a balance between artistic ambition and the ability to connect with a wider audience. This balance contributed in part to its singular wealth. As recently as the mid 1970s idiosyncratic filmmakers working on the margins of the industry, such as Philippe Garrel or Jean Eustache, had been able to create radical, almost experimental films, and into the

in Screening the Paris suburbs
Ian Mackillop and Neil Sinyard

To counterbalance the rather tepid humanism of our cinema, it might also be said that it is snobbish, anti-intelligent, emotionally inhibited, willfully blind to the conditions and problems of the present, dedicated to an out of date, exhausted national idea. (Lindsay Anderson

in British cinema of the 1950s
The amateur art films of Enrico Cocozza
Ryan Shand

artist with the most potent means of expression there has been.’ 1 While an examination of the amateur film movement may at first seem out of place in a book dedicated to art cinema, David Andrews has suggested that, ‘To get a sense of the true scope of the art cinema super-genre, then, we must acquaint ourselves with sectors that legitimate critics rarely, if ever, visit.’ 2 Moreover, from the mid-1930s until the early 1960s the organised amateur film sector served at least partially as a feeding ground for talented individuals into the professional film and

in British art cinema
Momma Don’t Allow (1956), We Are the Lambeth Boys (1959) and March to Aldermaston (1959)
Colin Gardner

. (First Free Cinema Manifesto) 1 The moment you reject the factor of interpretation you are actually rejecting your responsibility. (Karel Reisz) 2 A socialism that cannot express itself in emotional, human, poetic terms is one that will never capture the imagination of the people – who are poets even if they don’t know it. (Lindsay Anderson) 3

in Karel Reisz
Philip Gillett

Rains on Sunday. Because working-class women are normally relegated to subsidiary roles, her case is even more unusual. Among the films considered, the commercial success of The Way to the Stars is beyond question. Audiences knew a good film when they saw it. Given the meagre number of screenings achieved in the sample Leeds cinemas by many of the films in which working-class characters are prominent, these is no evidence

in The British working class in postwar film
Scott Anthony

3 The Projection of England and documentary cinema The pioneers of public relations in Britain imaginatively utilised a range of new technologies to illuminate and interpret the nation’s approach to the commercial, bureaucratic and scientific challenges of the age. The EMB Film Unit established in 1928 was crucial to the development of this radical function of public relations. Working with a young technology encouraged Tallents to indulge in, and experiment with, new approaches to both the method and manner of communication. Specific insights provided by the

in Public relations and the making of modern Britain
Kate Ince

an auteur, and has made it possible for some critics to polarise his output and make some damagingly judgemental dismissals of key elements of what I am calling his ‘cinema of desire’. Frédéric Bonnaud, for example, has progressively reviewed the feature films for the Parisian culture magazine Les Inrockuptibles, and in 2001, after the international release of Sous le sable, saw his overview of Ozon’s work to date

in Five directors
Peter Hutchings

understandings of female sexuality. 4 More generally, Barbara Creed has argued that the monstrous-feminine in horror cinema invokes notions of the biological – not least menstrual and other processes associated with female reproductivity – in a manner that invites both fascination and disgust. 5 Approaches of this kind align broadly with an ideological-analytical method that is prevalent in horror criticism. Put

in She-wolf
Jonathan Driskell

Marcel Carné’s films of the 1950s have received significantly less scholarly attention than his earlier work. In large part this stems from the profound hostility shown to these films by critics from the Cahiers du Cinéma . While Turk ( 1989 ) provides useful discussion of Carné’s postwar films, he does not consider them in the same depth as the earlier work. In part this is symptomatic of a more general neglect of postwar

in Marcel Carné
John M. Mackenzie

Volunteer field days, at exhibitions, tattoos, royal tournaments, and eventually in the cinema. Melodrama was gone by the early 1920s, surviving only in opera and burlesque. 2 In fact it had taken up residence elsewhere, on film. Above all, the old patriotic and imperialist music hall died with the First World War, and for many commentators its passing marks the end of popular cultural imperialism. 3 But again, popular imperialism

in Propaganda and Empire