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Queer Feminist Film Curation and the Freedom to Revolt
So Mayer
Selina Robertson

During summer 2018, Club Des Femmes (CDF), in collaboration with the Independent Cinema Office funded by the British Film Institute (BFI), curated a UK-wide touring season of films considering the aftermath of May 1968. ‘Revolt, She Said: Women and Film after ’68’ comprised nine feature films and eight accompanying shorts, exploring the legacy of 1968 on contemporary feminisms, art and activism transnationally. In this article, two members of CDF unpack the queer feminist ethics and affects of the tour, through the voices of multiple participants, and framed conceptually by Sara Ahmed’s ‘willful feminist’ and Donna Haraway’s ‘staying with the trouble’.

Film Studies
Swedish Sex Education in 1970s London
Adrian Smith

In 1974 the British Board of Film Censors refused to grant a certificate to the Swedish documentary More About the Language of Love (Mera ur Kärlekens språk, 1970, Torgny Wickman, Sweden: Swedish Film Production), due to its explicit sexual content. Nevertheless, the Greater London Council granted the film an ‘X’ certificate so that it could be shown legally in cinemas throughout the capital. This article details the trial against the cinema manager and owners, after the film was seized by police under the charge of obscenity, and explores the impact on British arguments around film censorship, revealing a range of attitudes towards sex and pornography. Drawing on archival records of the trial, the widespread press coverage as well as participants’ subsequent reflections, the article builds upon Elisabet Björklund’s work on Swedish sex education films and Eric Schaefer’s scholarship on Sweden’s ‘sexy nation’ reputation to argue that the Swedish films’ transnational distribution complicated tensions between educational and exploitative intentions in a particularly British culture war over censorship.

Film Studies
A mixed-method analysis of online community perception of epic biblical movies
Gregory P. Perreault
Thomas S. Mueller

a question. This chapter explores the religiously active believers on social media to understand and predict how they think about their faith and biblical epics. Prior research has shown that participants in online communities tend to be more enthusiastic and more invested on a given topic than non-participants (Duggan and Smith 2013 ). Furthermore, this chapter aims to assess whether certain religious groups are motivated to attend biblical epics than others. The chapter builds on the Theory of Planned Behaviour to predict attendance at biblical epic movies

in The Bible onscreen in the new millennium
Richard Kilborn

their lives preparing for it. (Apted, 2006) For Apted, then, the key question is not whether his subjects go through a mental rehearsal for the event but how articulate they become at expressing their thoughts on camera. Apted is of the opinion, indeed, that the facility that most of his participants have developed over the years for articulating their thoughts is one of the particular strengths of the series. In his own words: The fact that my subjects have turned out to be so articulate is in a way a tribute to what the programme is, which in a sense celebrates

in Taking the long view
Abstract only
Carrie Tarr

childhood, expiating the guilt she felt about her parents’ separation, and retrieving something of what had been lost. ‘J’ai ressenti longtemps un sentiment de culpabilité. J’ai cru qu’ils se séparaient à cause de moi. Avec ce film je me suis libérée’ 2 (Fournier 1983 ). In fact Coup de foudre is dedicated to all three of the main participants in the drama and its title applies as much to Michel’s falling for Léna as for the

in Diane Kurys
Martin Barker
Clarissa Smith
, and
Feona Attwood

feelings in small generalisations: ‘any deaths of innocents, ie, children’ (#10414). Many participants simply recorded the aspect that had hit them. But some at least hinted at the conditions of the impact. Sometimes these make clear that it was not always just the physicality of the violence that struck home – it was its implications. Often this was for narrative reasons. So, Jon's betrayal and killing by members of the Night's Watch hurt #9805 hard because Jon's intentions had been so good – it challenged the watcher's sense of narrative rightness . Sometimes it was

in Watching Game of Thrones
Douglas Morrey
Alison Smith

’être of ‘performance’ and ‘spectacle’ and their implications for participants. Especially in Rivette’s work theatre, generally experimental theatre, is a constant and insistent presence, a persistent reminder, and metaphor, of the process of performance, at once reflecting on Rivette’s cinematic practice and providing a means of developing it through never-ending questioning and correction – with the dangers of

in Jacques Rivette
Bridgette Wessels
Peter Merrington
Matthew Hanchard
, and
David Forrest

Introduction This chapter offers a detailed exploration of the data generated from the film elicitation focus groups first discussed in Chapter 2 . In the sessions, participants illuminated the ways in which their multiple and varied personal film journeys manifested themselves, through focused interpretations of specific film texts – namely those that might be understood as specialised films in the industrial context (see BFI, 2018b ) and art cinema (Bordwell, 1979 ; Neale, 1981 ; Hoyle and Newland, 2019 ) within

in Film audiences
Abstract only

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Sarah Atkinson
Helen W. Kennedy

became the founder of the ‘PPSC’, was sufficiently drawn by his investment in BttF to make the journey to London to experience the SC event. In previous publications we have explored the high-profile social media debacle that took place when the opening night was cancelled just hours before it was due to commence. 18 Large numbers of participants who were travelling far from home – without their mobile phones – were, at very short notice, cast adrift in London without an event to attend. Highly textually literate

in Secret Cinema and the immersive experience economy