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Sue Harris

). Sixteenth-century literature may seem an unusual place to start an analysis of the work of a contemporary French film director, but the parallels that we can detect between the aesthetic choices and resulting discourses of the two artists are helpful when seeking to categorise the content and structure of their work. As Sue Vice points out: ‘Bahktin reveals that Rabelais has been misunderstood, his grotesque images misread as simple

in Bertrand Blier
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We need to talk about Julien
Ben McCann

  1 Introduction: we need to talk about Julien When the French cinema dies, it might do worse than find his [Duvivier’s] name written across its retina. (Alistair Cooke 1971: 125) No one speaks of Julien Duvivier without apologising. (Dudley Andrew 1997: 283) Once upon a time, Julien Duvivier (1896–​ 1967) was considered one of the world’s great film directors. He was beloved by Orson Welles, Rouben Mamoulian, Frank Capra, and John Ford, while Ingmar Bergman once admitted that, of all the careers that he would have liked to have had, it would be Duvivier’s. The

in Julien Duvivier
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Linnie Blake

audiences, allows for a powerful and potentially cathartic engagement with otherwise unrepresentable aspects of the German past. And that Buttgereit’s films should have been subject to the most radical acts of state censorship in Germany since the Second World War bespeaks not only of the ongoing trauma of Germany’s prematurely bound and hence unhealed historical wounds but of the cultural significance of this little-known cult film director. He finds a place in this study of predominantly mainstream horror cinema not only because the distinction, in Germany of this

in The wounds of nations
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‘The past is the mirror’
Alexandra Parsons

political response to a life lived in a country that had remained homophobic and inhospitable through every period of his life. As a famous film director, he had a platform and an audience. By naming the realities of one queer life in many ways, from different angles, he added his voice to those which had previously been silenced. The ways he shares his life are often confrontational, engaging with contentious and perhaps challenging areas of queer experience. Brophy comments on the ‘shifting dynamics of mourning and memory, blend[ed] […] with a good deal of polemic’ in

in Luminous presence
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Véronique Machelidon and Patrick Saveau

the local, represented by the substandard lifestyles of the cité (housing project) and the culturally impoverished banlieue, to embrace richly diverse spaces, stories and cultures that pertain to the national and transnational. Cinematic production nowadays is tightly linked in different ways to the television industry. As television channels regularly contribute to the funding of full-length feature films and therefore facilitate the shooting of works by relatively unknown or inexperienced film directors, post-beur authors seek broader audiences for their ideas by

in Reimagining North African Immigration
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Christopher Lloyd

its own momentum; Becker adds that Hitchcock is a phenomenon partly because of his sheer productivity. But all four agree that the film director’s goal should be to stamp his own creative personality on his work and to extend the cinema’s means of expression (by way of example, Clouzot describes his abortive attempt, in collaboration with Sartre, to write a screenplay presenting a character’s stream of consciousness). Three of the four had their careers prematurely cut short: like Clouzot, Becker produced only a dozen films, dying aged fifty-four in 1960, the year

in Henri-Georges Clouzot
Carmen Ciller

industries, paying attention to the Ibermedia programme, which, after 1998, has helped in the production, distribution and exhibition of Spain–​Argentina co-​productions. An example of the productivity of this relationship is found in the testimony of Spanish film director Agustín Díaz Yanes, who, after directing Nadie hablará de nosotras cuando hayamos muerto/​No One Will Talk About Us When We Are Dead (1995) and Sólo quiero caminar/​I Just Want to Walk (2008), supports the connection between Spanish and Argentinian film industries and invites filmmakers to explore the

in Performance and Spanish film
Noni Jabavu, an unconventional South African in London
Andrea Thorpe

Tembi. 4 During her pregnancy, she was among the evacuees from London to the Lake District, ‘away from the Blitz’, as she recalls in a letter (22 August 1995, Amazwi South African Museum of Literature). After the war, she remained in London, working as a journalist and a presenter and producer for the BBC, and it was during this period that she interacted with Abrahams on the Third Programme. Her marriage to film director Michael Cadbury Crosfield in 1951 set in motion what she was to call ‘the peripatetic print of

in South African London
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K. J. Donnelly and Steven Rawle

in which film directors and composers collaborate, and how this collaboration is experienced in the films themselves. In addition, the collection addresses the continued hierarchisation of vision over sound in the conceptualisation of cinema and readdresses this balance through the exploration of the work of these two significant figures and their work together during the 1950s and 1960s. ‘From his first sound films’, Weis remarked, ‘Hitchcock has treated sound as a new dimension to cinematic expression’ (1982: 14). Music is often fundamental to how we consider

in Partners in suspense
Christopher Lloyd

summary fashion in order simply to illustrate a commentary largely focused on biographical and anecdotal elements. Before offering a fuller descriptive analysis of Le Mystère Picasso, however, it is useful to recall some of the critical responses to the film, since they effectively set the terms for any discussion. For all their enthusiasm, the remarks by Chastel just quoted also reveal how ambivalent and grudging was the attitude of many contemporary reviewers towards Clouzot, a film director whom they associated more with popular genre films than with high art. Hence the

in Henri-Georges Clouzot