This book aims to provoke increased interest in the work of the four directors:
Dominique Cabrera, Noémie Lvovsky, Laetitia Masson and Marion Vernoux, although
some of their early works have become more difficult to access, most of their
films remain commercially available through French distributors. The four
directors are not new arrivals and began making films in the early 1990s, yet
they have received scant critical attention in both popular and academic film
criticism. They share similar profiles in terms of box office success, number of
films made and generational affinities and, shorts and feature films in France.
They make films that straddle boundaries of categorisation and therefore escape
the quickly established and self-perpetuating groupings that serve as powerful
frameworks for popular access via DVD distribution, critical canonisation and
academic curricula. Whilst Cabrera attests her sanguine awareness of the
discriminatory treatment of women in all areas of the film industry she rejects
the suggestion that the process of her filmmaking is determined by sexual
difference or a gendered creative identity, asserting provocatively. The book
discusses Masson's use of romance and detective narratives to debunk the
former and subvert the later. The career path of Lvovsky remains distinctive
from that of other directors. Vernoux's oeuvre maintains a coherent focus
on the modes of transgression present within the generic conventions of comedy
and romance in films which exploit the common narrative device of the encounter
to propel narratives and characters across social boundaries within a dominant
generic focus on romantic comedy.
This book explores the interactions of comedy and drama within a group of significant and influential films released during the decade of the 1990s. It examines a group of British films from this period which engage with economic and social issues in unusual and compelling ways. Brassed Off and The Full Monty are two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. The book then discusses a number of contemporary British films focusing upon the experiences of British-Asian and African-Caribbean characters and their efforts to feel 'at home' in Western and British society. It features an extensive analysis of East is East, a comedy-drama about the cultural and ideological tensions surfacing between members of a British-Asian family living in Salford, circa 1971. Next, the book includes case studies of Four Weddings and a Funeral, Notting Hill, and Love Actually. It investigates the ways in which humour is deployed for dramatic and emotional effect in the context of scenarios dealing with such seemingly non-comic subjects as mass unemployment, failed or uneasy relationships, bitter family disputes, or instances of racial tension and conflict in British society. The book demonstrates that the interaction of comic and dramatic modes of narration within the films discussed proved to be a dynamic creative mechanism in 1990s British cinema, facilitating and enabling the construction of innovative and genuinely exploratory narratives about characters who are striving to realise particular aspirations and hopes within a complex culture.
How do you create a fictional story out of an historical period? What do you need to know about the people, the places, the events? What’s the better inspiration: historical scholarship or popular knowledge? A writer’s guide to Ancient Rome serves as inspiration and a guide to the Roman population, economy, laws, leisure, and religion for the author, student, general reader seeking an introduction to what made the Romans tick. The Guide considers trends and themes from roughly 200 BCE to 200 CE with the occasional foray into the antecedents and legacy on either side of the period. Each chapter explicates its main themes with examples from the original sources. Throughout are suggestions for resources to mine for the subject at hand and particular bits affected by scholarly debate and changing interpretation based on new discoveries or reinterpretation of written and material remains. It’s up to you whether or not you will produce a work of careful verisimilitude or anachronistic silliness (or one of the flavours in between). That’s your call as creator. This little guide is but a brief survey of a vast quantity of resources, sources, and scholarship on the Classical world that is available for reflection, evaluation, interpretation, and creativity. It is intended to open doors for further reading and consideration as you construct your own Roman world – it’s a welcome mat inviting you in to listen to the stories of the Romans and to contribute tales of your own.
What can culture, and its manifestations in artistic and creative forms, ‘do’?
Creativity and resistance draws on original collaborative research that brings
together a range of stories and perspectives on the role of creativity and
resistance in a hostile environment. In times of racial nationalism across the
world, it seeks to connect, in a grounded way, how creative acts have agitated
for social change. The book suggests that creative actions themselves, and
acting together creatively, can at the same time offer vital sources of
hope. Drawing on a series of case studies, Creativity and resistance focuses
on the past and emergent grassroots arts work that has responded to migration,
racism and social exclusion across several contexts and locations, including
England, Northern Ireland and India. The book makes a timely intervention,
foregrounding the value of creativity for those who are commonly marginalised
from centres of power, including from the mainstream cultural industries.
Bringing together academic research with individual and group experiences, the
authors also consider the possibilities and limitations of collaborative
Michael Pierse, Churnjeet Mahn, Sarita Malik, and Ben Rogaly
history is made. In Rushdie's Midnight's Children ( 1981 ), his narrator-protagonist's self-obsessed account of India's history presents an extreme form of subjectivity that poses questions about historical objectivity; how can we disentangle the personal from the political? Here, literature seeks to disrupt, rather than simply reflect, the real world. Creative interruptions can also expose the risible pomposity, racism and classism of the arts establishment, as, for example, in Mathieu Kassovitz's film La Haine (1995), where three young working-class men of
the essay form itself. Most of the scholarship on the essay itself has
been done by Americans on American essays or considering the British periodical essayists. Many of the articles I reference in this chapter come from American
literary journals, particularly River Teeth and Fourth Genre, two of the three main
literary journals that solely publish non-fiction, and I am favouring the perspectives of practising creative non-fictionists who are also either academics or editors.
In terms of audience, Chris Arthur is frequently published in American literary
Empowering literary educators and
learners in Northern Ireland: university–
community engagement for peace
Not all issues are amenable to resolution through rational discourse. (Welton, 1995: 35)
This chapter illustrates how a university–community partnership incorporated
creative, non-text-based approaches into adult literacy work to contribute to the
efforts towards creating greater equality and peacebuilding in Northern Ireland.
The university–community partnership, known as the Literacy and Equality in
Irish Society project (LEIS), was based on
It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.
at several collaborative projects
I have been drawn to, sensing that they too hold clues – again, not just
in the subject matter but in the process itself. If that is so, then the tools
of ecology, its understandings of interdependent living processes in a
system, might make a contribution to our knowledge of Creative
Writing, that practice-led discipline that stands alongside literary study
in the university, familially linked to it, but distinct. If I do this through
consideration of my own work, this is in the spirit of the sceptical
represents himself, with dark humour, as obsessed with his prerecorded Radio-Canada obituary, which he obtains and listens to on headphones,
so that the audience cannot hear to what Lepage is (unhappily) reacting (see figure
2.4). It is a powerful representation of the desire to control how one is remembered,
and also reflects the recognition that some of this is out of our hands. Some– but
not all: in this mature phase of his career Lepage and Ex Machina are channelling
energies into the sustainability of their creative and business interests. As they
do so, they have