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Laurent Cantet is of one France’s leading contemporary directors. He probes the evolution and fault-lines of contemporary society from the home to the workplace and from the Republican school to globalized consumption more acutely than perhaps any other French film-maker. His films always challenge his characters’ assumptions about their world. But they also make their spectators rethink their position in relation to what they see. This is what makes Cantet such an important film-maker, the book argues. It explores Cantet’s unique working ‘method,’ his use of amateur actors and attempt to develop an egalitarian authorship that allows other voices to be heard rather than subsumed. It discusses his way of constructing films at the uneasy interface of the individual, the group and the broader social context and his recourse to melodramatic strategies and moments of shame to force social tensions into view. It shows how the roots of the well-known later films can be found in his early works. It explores the major fictions from Ressources humaines to the recent Foxfire, Confessions of a Girl Gang. It combines careful close analysis with attention to broader cinematic, social and political contexts while drawing on a range of important theorists from Pierre Bourdieu to Jacques Rancière, Michael Bakhtin and Mary Ann Doane. It concludes by examining how, resolutely contemporary of the current moment, Cantet helps us rethink the possibilities and limits of political cinema in a context in which old resistances have fallen silent and new forms of protest are only emergent.

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Theories of filmic reality
Author: Richard Rushton

In formulating a notion of filmic reality, this book offers a novel way of understanding our relationship with cinema. It argues that cinema need not be understood in terms of its capacities to refer to, reproduce or represent reality, but should be understood in terms of the kinds of realities it has the ability to create. The book investigates filmic reality by way of six key film theorists: André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. In doing so, it provides comprehensive introductions to each of these thinkers, while also debunking many myths and misconceptions about them. Along the way, a notion of filmic reality is formed that radically reconfigures our understanding of cinema.

Richard Rushton

7  Filmic reality and the aesthetic regime  9  Some things to do: The Far Country (Anthony Mann, 1954) W hat contribution does the philosopher Jacques Rancière make to an understanding of filmic reality? While Rancière’s approach to cinema, and to aesthetics more generally, is strategically ambivalent – he is a philosopher who is not keen to ‘take sides’ in specific debates (see Rancière 2009: 21) – that ambivalence raises questions worth considering for the notion of filmic reality. Rancière is at his most confident when describing what cinema is not, and his

in The reality of film
Karen Fricker

while containing the potential for very different effects. I further argue that some of his shows, or parts of them, activate in viewers ‘an awareness of the political and ideological factors underlying perception’ (Woycicki 4), while others lack critical perspective on representational practices. I do so by bringing the existing scholarship on the effects of his work together with several related contemporary critical strategies. Considering Lepage’s work through affect theory and through Jacques Rancière’s conceptualisation of the emancipated spectator allows us to

in Robert Lepage’s original stage productions
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Sam Rohdie

of earlier Godard films. Jacques Rancière in an essay on Histoire(s) points to what he calls the central paradox of the film, namely the assertion by Godard that the cinema failed to live up to its vocation of documenting the real of the death camps and by such inaction betrayed itself, whereas Histoire(s) has, on the contrary, realised what it says the cinema has not been able to do. This apparent paradox belongs to a more comprehensive one, namely the position taken by Histoire(s) that the cinema, in not living up to its duties and the historical task of filming

in Film modernism
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

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Epstein at the crossroads
Christophe Wall-Romana

political terms as we will see. Meanwhile, thinkers of the cinema as diverse as Edgar Morin, Jean Mitry, and Siegfried Kracauer in the 1950s and 1960s, and Gilles Deleuze, Jean-Luc Godard, and Jacques Rancière in the 1980s and 1990s, have uniformly recognized in Jean Epstein both a remarkable filmmaker and among the first committed philosophical thinkers of cinema (see chapter 6). The time has come to take these influential figures at their word and give Epstein the critical appraisal that has been so long in coming. For his double attainment – as key director and

in Jean Epstein
Sarah Turner’s Perestroika
Kim Knowles

experience of it. In Maurice Merleau-Ponty’s theory of perception, this equates to a form of reversibility: ‘the look […] envelops, palpitates, espouses the visible things’. 31 By opening up these tangible interstices, Perestroika ’s formal approach activates a tactile reading. For Turner, as for Jacques Rancière, ‘[t]houghts and things, exterior and interior, are captured in the same texture, in which the sensible and the intelligible remain undistinguished’. 32 Inter-subjectivity and intermediality combine to carve out multiple spaces between, with the former

in British art cinema
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On the reality of film
Richard Rushton

between illusion and reality – that this book argues. The remaining six chapters of the book try to posit various ways of going beyond political modernism and its logic of illusion versus reality in the cinema. Each chapter focuses on the work of a specific film theorist, so that there are chapters on André Bazin, Christian Metz, Stanley Cavell, Gilles Deleuze, Slavoj Žižek and Jacques Rancière. What pans out, I think, is less a singular, pointed and specific theory of what filmic reality is and more of a sense that what I mean by filmic reality is an attitude one takes

in The reality of film
Open Access (free)
Dana Mills

members themselves. I ask that we, as readers–​ spectators of the argument, become more attentive to the dancing bodies that have interrupted and transfigured our symbolic frameworks across 4 4 Dance and politics space and time. I  have constructed my conceptual framework from a choreographic, critical reading of Jacques Rancière’s concept of dissensus. Rancière sees the essence of politics ‘as the manifestation of dissensus as the presence of two worlds in one’ (Rancière 2010: 37). Dissensus is the collision of two worlds, one intervening in the other and

in Dance and politics