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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.

Tinne Claes and Katrin Pilz

, such as industrial workers, but also military men and veterans, mothers, children and, in colonial contexts, indigenous people. 88 Realised by different public health departments these films were prepared and executed by professional and clinical film directors. This specific genre is therefore an optimal source for discussing interdisciplinary, intercultural, scientific and public

in Medical histories of Belgium
Thai post-colonial perspectives on kingship
Irene Stengs

in the making of the movie The Legend of Queen Suriyothai . It is common knowledge that Sirikit strongly identifies with her historical predecessor. 39 Statements on the topic by people close to the queen have regularly appeared in the newspapers. Rumour (which does not appear in the press in Thailand) has it that the queen regards herself as a reincarnation of the warrior queen. We have to understand the interest of Sirikit in promoting the story of Suriyothai in this context. In 1999, Sirikit approached one of Thailand’s most established film directors, M. C

in Monarchies and decolonisation in Asia
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Keith Rathbone

film's director, Marcel Ophüls, used the cyclist to make a political point about the perfidy of certain French people during the wartime. Géminiani's statement flashed on the screen in bold letters and Ophüls followed them with video testimony from other Clermont-Ferrandais, mostly farmers and tradesmen, who remembered the Germans’ daily presence in the city. 3 Asked how other French people might not have seen Germans in town, Marcel Verdier, a pharmacist, said, ‘Well, they must have been pretty blind, you know

in Sport and physical culture in Occupied France
Sian Barber

fairytales and their narrative components has encouraged scholars to think about films in a similar formalist way. Other topics may not fit neatly into established theoretical models. You may be keen to explore issues of female authorship, focusing on a modern film director like Kathryn Bigelow, yet perhaps none of the existing theoretical work on the auteur theory fits with the research you want to carry out. If this is the case then you need to decide if the theoretical approach you have chosen is a suitable one. To help you do this, you should perhaps consider what

in Using film as a source
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Testimonial knowledge as ongoing memory transmission
Audrey Rousseau

entrepreneurs’ include both interviewers and the survivors of the Laundries who produced oral accounts of what they saw and experienced in these institutions. 21 In the making of the commemorative documentary film, the central ‘memory entrepreneur’ was the film's director (who also happens to be the author of this chapter). That said, memory work is a shared and distributed practice. For instance, while the role of a director gives one editorial authority to select and edit interview excerpts, the interviewees (in this case

in Legacies of the Magdalen Laundries
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Gordon Pirie

, the British film director revealed that he persuaded his boss, Alexander Korda, to send him to Burma to fetch film costumes and props, and make contacts. At the age of eighty-one he recalled his Imperial journey from Southampton to Rangoon in 1937 as one of his happiest travel memories. He exaggerated flying on average 2,000 miles a day (half that is more likely), but he

in Cultures and caricatures of British imperial aviation
Roger Spalding and Christopher Parker

made the western democracies seem like closed societies, albeit of a different kind. Developments of this kind stimulated many intellectuals to look more closely and critically at their own societies. In Germany this occurred across the spectrum of academic and artistic activity. In 1970, for example, the German film director, Rainer Werner Fassbinder, declared: I would say that in 1945, at the end of the war, the chances which existed for Germany to renew itself were not realized. Instead the old structures and values, on which our state rests, now as a

in Historiography
Juliette Pattinson

romance, quickly attracted the attention of film directors. The film of Jerrald Tickell’s 1949 biography about Sansom had its world premiere at the Gaumont Palace in Lewisham on 17 April 1950. Odette starred Anna Neagle in the title role, and had Maurice Buckmaster, the head of F Section, appearing as himself and Peter Churchill, Sansom’s organiser, making a cameo appearance as a local resister. The film depicted Sansom’s recruitment, training and work, as well as her arrest, torture and incarceration in a German concentration camp. The film was well received and came

in Behind Enemy Lines
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Sian Barber

respondent suggested ...’ or ‘a father of two wrote ...’ or even ‘a viewer from Bath complained that ...’. Such phrases do not weaken your work but ensure that the authors of the material you are using are protected. However, if the material is written by someone holding public office or a well-known figure, then naming them may be appropriate. For example, the prime minister, MPs, church leaders, the head of the Cinematograph Film Council, academics carrying out research, film directors, producers or industry figures, the head of the BBFC or the BFI can all be named. You

in Using film as a source