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Maurice Pialat’s L’Amour existe
Elisabeth Cardonne-Arlyck

9 A crucible of emotions: Maurice Pialat’s L’Amour existe Elisabeth Cardonne-Arlyck Maurice Pialat was 36 years old when his first professionally produced documentary short, L’Amour existe, came out in 1961. His producer, Pierre Braunberger, who had helped finance Jean Renoir’s Nana (1926) and La Chienne (1931), and was becoming a major producer of the New Wave, found the never-satisfied Pialat impossible to work with and did not repeat the experience. The film was well received, however, and was awarded the Prix Louis-Lumière and the Lion of Saint-Marc at the

in Screening the Paris suburbs
Documentary form and audience response to Touching the Void
Thomas Austin

3 ‘Suspense, fright, emotion, happy ending’: documentary form and audience response to Touching the Void Film scholarship needs to take audiences seriously as a means of deepening, and offering some new angles on, debates over the form, ethics and impacts of screen documentary. This chapter uses a case study of the commercially and critically successful mountaineering documentary Touching the Void (UK, 2003) as a point of entry into further consideration of these and associated issues. Drawing on original qualitative research among cinemagoers, it follows two key

in Watching the world
Richard Hewett

emotion than has been shown by Quatermass or the technicians (at this point the audience is not aware of Judith’s increased emotional connection through her marriage to Victor), and is more redolent of stage gesture, designed to transmit meaning to a large, physically present audience. Compared with Tate’s less explicit use of his body, Dean’s movements seem more rehearsed, and calculated to produce an effect that is amplified by the fact that Cartier repeatedly cuts to her for reaction shots. This is seen more clearly when Judith and Quatermass discuss the unknown fate

in The changing spaces of television acting
How audiences engage with dark television

The eight-season-long HBO television adaptation of George R. R. Martin’s Game of Thrones was an international sensation, generating intense debates and controversies in many spheres. In 2016–17, an international research project gathered more than 10,000 responses to a complex online survey, in which people told of their feelings and judgements towards the series. The project was an ambitious attempt to explore the role that ‘fantasy’ plays in contemporary society. This book presents the project’s major outcomes. It explores people’s choices of favourite characters and survivors. It looks at the way modern works of fantasy relate to people’s sense of their own world, and what is happening to it. It explores the way that particular televisual decisions have generated controversies, most notably in relation to presentations of nudity, sex and sexual violence. The book uses the project’s distinctive methodology to draw out seven ways in which audiences watched the series, and shows how these lead to different responses and judgements. Notably, it leads to a reconsideration of the idea of ‘lurking’ as a problematic way of participating. A pair of complex emotions – relish and anguish – is used to make sense of the different ways that audiences engaged with the ongoing TV show. The book closes with an examination of the debates over the final season, and the ways in which audiences demanded ‘deserved’ endings for all the characters, and for themselves as fans.

Abstract only
Author: Steve Blandford

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.

Lez Cooke

Regions Drama, Plater gave a more positive account of a character living ‘fer in the north contree’ in his 1973 Play for Today, Land of Green Ginger, in which ‘a North country maid down to London has strayed’ but who returns, for the duration of the play, to her ‘North country home’, as the folk group The Watersons sing on the soundtrack to the play. In a 1977 article, Alan Plater wrote about the importance of using regional voices and dialect to convey human emotion in drama in an authentic manner: ‘in everyday speech there is a richness and music that makes the voice

in A sense of place
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Beth Johnson

real difficulties and drabness of working-class life. Instead, Abbott invokes and evokes through such musings an exuberance in the everyday coupled with a fierce lack of shame in order to demonstrate the determination of the Gallagher family to remain together. Threats to the togetherness (in spite of the often violent and excessive shared intimacies and emotions of the family) are presented through the potential for outside agencies (the social services and police) to try to ‘improve’ or do something about the living conditions and traditional parental breakdown of

in Paul Abbott
Abstract only
Beth Johnson

, Reckless was a serial drama in six hour-long parts. Created by Abbott, produced by Sita Williams and executively produced by Carolyn Reynolds, the BAFTA-winning drama tells a story of love, obsession, infidelity, heartbreak and desire. Set in Manchester and starring Robson Green as Dr Owen Springer, Francesca Annis as the object of his desire, Anna Fairley, and Michael Kitchen as Dr Richard Crane (Anna’s unfaithful husband and Owen’s boss), the narrative brings to the forefront the disruption of domestic life by the extraordinary emotions and inter­ sections of love

in Paul Abbott
Noémie Lvovsky, Valeria Bruni Tedeschi, Maïwenn
Sarah Leahy and Isabelle Vanderschelden

filming stage, as a space for the integration and fine-tuning of emotion. For example, Moreau’s performance as Camille’s mother moved Lvovsky so much during the shooting, that she decided to develop the mother–daughter scenes on set (Séguret 2012). She did not film the mother’s death, yet this moment became a crucial scene articulating the time travel plot and the flashbacks. In the end, she chose to film

in Screenwriters in French cinema
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‘If you think this has a happy ending, you haven’t been paying attention’
Martin Barker, Clarissa Smith, and Feona Attwood

’/‘deserts’ in answers to our ‘most memorable’ and ‘most uncomfortable’ questions. First, it seems that mentioning ‘deserts’ allows people to jump to a conclusion without needing to specify the steps they are going through. They rarely feel the need to add ‘because …’ – the point they are making is, to them, self-evident. Second, there seem to be several versions of the enthymematic premises that enable the move. One is a sort of universal (moral? justice?) principle: ‘nobody deserves …’. A variant on this hints at emotions being felt by the person writing to

in Watching Game of Thrones