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Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

socio-economic, they were at the time mostly discussed and dealt with in aesthetic terms, and we saw eventually the emergence of the European art cinema, a new kind of film, specifically aimed at the literate and professional middle classes. One of the most important European contributions to the film history of the 1950s was, thus, undoubtedly the sudden rise of the auteur, the film director

in British cinema of the 1950s
Open Access (free)
Paul Henley

obligation to address non-specialist audiences did not necessarily result in ‘dumbing down’, but rather could serve as the catalyst for experienced film directors to identify the essence of an issue or set of circumstances so that it could be presented in a readily accessible manner. This is a skill that, proverbially at least, many academics lack. At the same time, the technical standards of broadcast television required craft skills that were far greater than anything most academics could manage by themselves. Although academics like to stress that

in Beyond observation
Open Access (free)
Environmental justice and citizen science in a post-truth age
Editors: Thom Davies and Alice Mah

This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.

Open Access (free)
Munich–Rome–Los Angeles, or ‘The last temptation of Ingmar Bergman’
Thomas Elsaesser

commissioned Maddin and Sparks to do a live preview of the film on the festival’s opening night. The plot premise is that immediately after his 1956 success at Cannes (nomination for the Palme d’Or and first prize for poetic humour) with Smiles of a Summer Night (1955), Bergman was enticed to Hollywood, where he was greeted by none other than Greta Garbo herself. One enthusiastic commentator wrote: Ron and Russell Mael’s yarn of the famed film director leaving Sweden for Hollywood is an

in Ingmar Bergman
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
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

-making process itself.15 In the end, Shérazade does achieve a measure of success. The film director is forced to concede that she is not merely a stereotypical figure: no replacement can be found for her when she goes missing – only she will do (Le Fou, p. ). Her young neighbours from the housing estate share in this subversive process, transforming her portrait into a fully-fledged icon over which they mount guard, while the other pictures of naked odalisques are attacked (Le Fou, pp. –). It is now the filmmaker’s turn to see this as sacrilegious by claiming that the

in Women’s writing in contemporary France
Peter Cowie

Kubrick wrote in a letter to Bergman: ‘Your vision of life has moved me deeply, much more deeply than I have ever been moved by any films. I believe you are the greatest film-maker at work today.’ 17 Krzysztof Zanussi remarked that ‘Bergman was for me a god. I only came to film-making because I discovered Bergman.’ 18 Paul Verhoeven has noted that The Seventh Seal ‘made me realize that films can be art. It inspired me to become a film director. This is one of the most powerful and significant films

in Ingmar Bergman
Ian Mackillop and Neil Sinyard

cross the border in Ken Annakin’s extraordinary Across the Bridge (1957). This is one of the finest of all Graham Greene adaptations, a masterpiece in Mike Leigh’s eyes (see his foreword to Annakin’s autobiography, So You Wanna be a Film Director ), one of Quentin Tarantino’s top ten films, and a British film that, in theme, ambience and atmosphere, even looks ahead to Orson Welles’s noir masterpiece of a year later

in British cinema of the 1950s
Consumerism and alienation in 1950s comedies
Dave Rolinson

research student at the University of Hull, writing a Ph.D. on the television and film director Alan Clarke. I have written articles on documentary and the 1950s Quatermass television serials and films. Although I’m 27 years old, I can easily relate to the puritanical austerity and yearning for escape in my favourite 1950s films because I’ve spent all of those years in Hull. Dave

in British cinema of the 1950s
Ann-Kristin Wallengren

sounds and the addition of music to produce a narrative style that refers to this historical film style. In Bergman’s oeuvre, we find examples of this silent-film aesthetic even in scenes that are without music. One instance is the famous scene at the beginning of Wild Strawberries in which Isak Borg, played by silent-film director Victor Sjöström, dreams about his death. Nonetheless, music and film without any dialogue or natural sounds create a highly poetic film language, and it seems that Bergman, as a lover

in Ingmar Bergman