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Ian Aitken

who cannot get close to the psychology of everyday life. The revolutionary is that sort of person in whom patience is joined to impatience. Impatience on its own can create a kind of ‘happening’; and after a series of ‘happenings’ it can occur that the former revolutionary, having remained a disappointed, cynical man

in Lukácsian film theory and cinema
Paul Merchant

Pablo Corro‘s 2014 book Retóricas del cine chileno (Rhetorics of Chilean Cinema) is a wide-ranging examination of the style and concerns that have come to characterise Chilean film-making from the 1950s to the present day. Corro demonstrates how ideas of national cinema are always to some extent dependent on transnational currents of cinematic ideas and techniques, as well as on local political contexts. The chapter presented here, Weak Poetics, adapts Gianni Vattimo‘s notion of weak thought to discuss the growing attention paid by Chilean films to the mundane, the everyday and the intimate. Corro‘s dense, allusive writing skilfully mirrors the films he describes, in which meaning is fragmented and dispersed into glimpsed appearances and acousmatic sounds. Corros historicisation of this fracturing of meaning allows the cinema of the everyday to be understood not as a retreat from politics, but as a recasting of the grounds on which it might occur.

Film Studies
Abstract only
Stephanie Dennison and Lisa Shaw

, neighbourliness and a community lifestyle typical of rural regions or the poor suburbs of the big cities of the South. This tradition continued in the films of Amácio Mazzaropi in particular in the 1960s and 1970s. In popular film the precarious and fragmented nature of everyday life for the poor is mirrored in the constant interplay between fantasy and reality, carnival interludes and the daily grind. The unlikely heroes of popular film have

in Popular cinema in Brazil, 1930–2001
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Richard Farmer

– or even outline in any detail what it is that they feel – it does offer some insight into how feelings affect actions. In the case of Britain during the Second World War, such actions have often been understood in terms of the direct contribution that an individual might make to the war effort – in terms of factory output, for example, or in the hours spent on Home Guard duty. But surely we should also consider the hundreds of prosaic and mundane activities that constitute everyday life. To attempt to maintain personal routine in the face of the disquieting

in Cinemas and cinemagoing in wartime Britain, 1939–45
Steven Peacock

the other. Rather than presenting a fantastical world of high living to match the riches of its soaring melodies, the film keeps its feet firmly on the ground. It tells tales of humdrum experience, as workaday (at base level) as those of the British New Wave. As the title of Jonathan Rosenbaum’s article on the film declares, The Umbrellas of Cherbourg sings ‘Songs in the Key of Everyday Life’. 72 Geneviève (Catherine

in Colour
Abstract only
Richard Kilborn

saga will bring (Junge, 2004: 259, 274, 308). Likewise with Seven Up, most observers are also agreed that much of the series’ enduring appeal lies in the way it succeeds in combining the attributes of a compelling social history and the more homespun qualities of a soap-like drama of everyday life. As Jonathan Freedland has written of 49 Up: [The film] is a full, revealing social history. And yet that is not the source of its power. That, and its intense poignancy, comes instead from the universal human story these lives tell. To see people ageing Concluding remarks

in Taking the long view
All or Nothing
Tony Whitehead

philosopher, genuinely able, in his lugubrious way, to rationalise things and articulate a perspective no doubt informed by his observations of and occasional conversations with the colourful mixture of people he meets in his cab. However, his ability to apply his philosophising to everyday life is shaky at best. Early on he muses to Ron (Paul Jesson), a neighbour and fellow driver who has just had an accident: ‘You might have driven round the next corner and killed a little kid. It’s whatsit, isn’t it? Fickle finger of fate’. But his later attempt to apply this barroom

in Mike Leigh
Fires Were Started and The Silent Village
Keith Beattie

personal expe­ rience was informed by the words of Milton, Shakespeare, Blake and other prominent poets and writers, the literary extracts were ‘natural’ components of everyday life. Brian Winston argues that the reading of a literary text permits Jennings to convey the heightened situation of the calm before an air raid. ‘Using the most cerebral of the [cast] (and a Scotsman) to read Raleigh solves the problem at least as well as having the men express their fears, or indeed anything deep, in their own words. That would, perhaps, have been even more unlikely than

in Humphrey Jennings
Mapping the industrial working-class home
Hollie Price

part of this trend. An organisation dedicated to documenting the everyday life of the nation, it undertook directives exploring British homes, which included, for example, a survey in 1937 examining the objects and decorations kept and displayed on mantelpieces. 8 Mass-Observation’s findings were published as Penguin Specials and disseminated as part of over a thousand local Left Book Club groups, and particularly in the suburbs and at lower-middle-class workplaces. 9 Also published for the Left Book Club, J. B. Priestley’s English Journey: being a rambling but

in Picturing home
Guy Austin

documentary film-making which was most directly influenced by what happened in May 1968. Documentary film-making in France in the 1960s had been dominated by cinéma-vérité – the recording of everyday life and events – as in Jean Rouch’s Chronique d’un été (1961) and Chris Marker’s Le Joli Mai (1963). This style was gradually supplanted by more formally experimental and politically-motivated forms of

in Contemporary French cinema