Bertrand Tavernier's substantial oeuvre could hardly be more varied. The filmmaker seeks to challenge himself in different ways with each film, refusing to be pigeonholed. This book commences with introductory remarks on the French filmmaker, Bertrand Tavernier, and his works. Tavernier has made twenty-one feature films, six documentaries, and several short films. Tavernier's oeuvre is unified by a recognizable constellation of ideas at its core. His Lyon, le regard intérieur, and his 'merveilleux lyonnais' ties filmmaking to the magic of childhood. The book chapter explores the significance of generations in Tavernier's films and in his career. The notion of generations has far-reaching implications in his work, ranging from literal families to successive 'waves' of filmmakers in the history of French cinema. The book examines this pervasive network of themes, reveals Tavernier's social, political, and affective worldview, and identifies him in terms of 'generational consciousness'. It discusses how L'Horloger de Saint-Paul presents itself as post-war, post-colonial, post-1968, and post-New Wave. L'Horloger de Saint-Paul suggests that the theme of conflicts between generations may ultimately be a red herring. Tavernier works instead to reconnect generations, showing that rebellion, solidarity, influence, and even memory are two-way streets. Tavernier's portraits of professional artists, focusing on Des enfants gâtés, Un dimanche à; la campagne, and Autour de minuit are also discussed. Daddy nostalgie is examined through the lens of melodrama, the nostalgia that comes into focus not only as an emotion but also as a historical dimension and a gateway to social engagement.
formed a bond with
Monique, responds that ‘I’ll come to you first Mrs Bailey … because
then at the end of my round, I’ll be able to sit with Mrs Hyde and have a
conversation with an intelligent, well-mannered woman. A proper conversation, one that isn’t full of narrow-minded judgement. It’ll help me
get through my other visits.’
There is clear engagement with prejudice here, although it is drawn
along class lines rather than in institutional terms – upper-middle-class
Reframing the 1950s
Jenny is able to see beyond colour and is the ‘best of England’, whereas
an examination of these polarities, this book explores how the depiction of domestic life onscreen in the 1940s represented a contemporary engagement with this nuanced, often contradictory, vision of modernity, which was closely associated with the domestic sphere and was made popular in connection with suburbia in the 1930s.
I argue that a selection of feature films from the 1940s, often considered a ‘golden age’ in national cinema, can be re-positioned ‘’mid pleasures and palaces’. Covering a variety of portraits of domestic life, the book includes new
Imperial fictions: Doctor Who, post-racial slavery and other liberal humanist fantasies
engagement with slavery occurs in the three episodes – ‘The Impossible
Planet’ (2006), ‘Satan Pit’ (2006) and ‘Planet of the Ood’ (2008), which
feature the Ood: an alien species described as born to serve.
Utilising an interdisciplinary amalgam of critical ethnic studies,
media studies, cultural studies and post-colonial theory, this chapter
considers how the 2005 reboot of Doctor Who utilises deracialised
and decontextualised slavery allegories to absolve white guilt over the
transatlantic slave trade; express and contain xenophobic anxieties
conventions in popular film and TV drama have historically sustained the illusion of a real (though fictional world), plausible in its geography and motivations. For the duration of the time of viewing, the audience
suspends its disbelief and is drawn into the story. This contract has not perhaps
6/27/2007, 2:43 PM
State of play
been completely broken in TV3, but the hybridity, playfulness, irony and visual
pleasures of contemporary fictions for the small screen suggests a greater complexity of engagement. Where the “realist disposition” may have
“Soap Opera”, the BBC and (Re)visiting The Grove Family (1954–57)
to speak to this scholarship, while its relations with the category of soap opera emerge as unruly and multifaceted. This generic
tension represented an ongoing struggle in my own approach to the programme, and it seemed that to close this down, or to iron it out, was to
do a disservice to the complexity of TGF itself.
Sounding out “soap”? BBC radio and the domestic serial
The BBC’s engagement with the idea of the family serial begins with
radio, and it is here that any assessment of genre should begin. Even
before we confront the pejorative connotations of the
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.
What do I have to say then, after hundreds of pages of exploration, to the student who asked how radio drama could even exist?
I can certainly tell him that radio drama works because he is an embodied being who exists in the world primordially in the natural attitude, and has the ability to locate himself within a holistic, pre-reflective world through auditory engagement; by replicating this engagement technologically, the radio dramaturg creates the possibility for him to encounter his radio as a radio-body, and therefore
the recent strengthening of
interest in ‘subjectivity’ has been a form of reaction. It has been part of
a recognised need to assume less and investigate more, to place the relations between ‘media’ and ‘selfhood’ within a denser sense of plurality,
of the interactive, of the contradictory and of movement (subjectivity as,
The subjective is centrally implicated in any engagement with the
production and circulation of knowledge and, perhaps even more obviously, with any exploration of pleasure. It is a site of imagination, of
desire and of fear
dynamics, those of organisation, those of articulation and those of apprehension. Organisation raises questions about the production of form but
also about its ‘objectified’ deployment as a necessary constituent of discursive and aesthetic artefacts. Articulation raises questions about form as
performance, giving to the term a marked sense of process and practice.
Apprehension gives emphasis to engagement with form by viewers and
readers, the dynamics by which formal factors become active in the
production of knowledge and emotions, in the complex, subjective