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Author: Martine Beugnet

Claire Denis' first film, Chocolat, was a deceptively gentle family chronicle set in colonial Africa. She focuses on ordinary people, men and women, black and white, homosexuals and heterosexuals, whom displacement and difference have set apart, relegated to the outskirts of society and to the margins of representation. In her films, the perception of the Other is always complex and ambiguous. This book outlines the multi-faceted, poetic vision of the contemporary world that emerges through Denis' filmmaking to date and to bring to light its main thematic, temporal, spatial and stylistic implications. The analysis presented focuses on her fictional feature films, which form the main body of her work and have generally become easily accessible in video or DVD format. In her first feature, Chocolat, the director's early experiences made her sensitive to oppression and misappropriation, exile and racism, alienation and transgression. Location and space emphasise a sense of displacement and function as metaphors for the process of potential exclusion of the individual (body) from society. But the metaphor also evokes an inner sense of exile and longing, a feeling of foreignness that is played out at the level of the individual and of the individual's body through relations of desire, fear and rejection. Denis' work stands apart from a tradition of screenplay and dialogue-based cinema that defines much of France's auteur as well as of its popular production. Denis' work has an echo of a wide range of contemporary thought and the traces of influential aesthetic and genre models.

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Gemma King

?’. At its heart, Audiard’s cinema is defined by border-crossing in myriad forms: by the building of physical and symbolic walls, and the process of climbing – or dismantling – them. Audiard’s protagonists transgress geographic borders, physical limitations, social norms and class lines. Simultaneously violent yet intimate, dark yet hopeful, French yet ‘foreign’, grounded in an established film tradition

in Jacques Audiard
De battre mon coeur s’est arrêté, Sur mes lèvres and De rouille et d’os
Gemma King

Audiard est l’un des cinéastes qui filme le mieux le corps des hommes. (Nuttens, 2012 : 7) 1 The body, and the boundaries that can be transgressed by and within it, are essential to the cinema of Jacques Audiard. This is despite the fact that the

in Jacques Audiard
The transgressive zine culture of industrial music in the 1970s and 1980s
Benjamin Bland

8 ‘Don’t do as you’re told, do as you think’: the transgressive zine culture of industrial music in the 1970s and 1980s Benjamin Bland Of all the musical subgenres that emerged in the immediate post-punk era, industrial may be seen as that which most readily transcended the traditional confines of a musical movement. Industrial stood out as a result of its strong focus on aesthetics and ideas, even in a musical landscape that was widely concerned with rejecting tradition and which interpreted ‘punk as an imperative to constant change’.1 S. Alexander Reed

in Ripped, torn and cut
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Author: Gemma King

This is the first book dedicated to the career and films of Jacques Audiard. It argues that the work of this prominent French director both reinforces and undermines the traditional concept of the auteur.

The book traces Audiard’s career from his early screenwriting projects in the 1970s to his eight directed feature films. From a prison outside Paris to a war zone in Sri Lanka, from a marine park on the Côte d’Azur to the goldfields of the American Wild West, these films revolve around the movement of bodies. Fragile yet powerful, macho yet transgressive, each of these films portrays disabled, marginalised or otherwise non-normative bodies in constant states of crisis and transformation.

This book uses the motif of border-crossing – both physical and symbolic – to explore how Audiard’s films construct and transcend boundaries of many forms. Its chapters focus on his films’ representation of the physical body, French society and broader transnational contexts. Located somewhere between the arthouse and the B movie, the French and the transnational, the feminist and the patriarchal, the familiar and the new, this book reveals how Jacques Audiard’s characters and films reflect his own eternally shifting position, both within and beyond the imaginary of French cinema.

Victoria Best and Martin Crowley

way that it traced their interaction in the notion of l’informe , or formlessness, a concept that had a significant impact on French visual art as well as literature. L’informe provides a pertinent example of Bataille’s fascination for the power of transgression, and of the link that transgression effects between pornographic material and subversive forms of discourse. As Rosalind Krauss explains it

in The new pornographies
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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.

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Le Dernier combat and Le Cinquième élément
Susan Hayward

, set design, sexuality and technology. But it is a conscious spectacularisation. In Le Cinquième élément , Besson brings together Jean-Paul Gaultier’s intellectually transgressive costume design, Moebius-inspired surrealist set designs – both of which help him to play with sexuality in a new way, and free his narrative from the heterosexual constraints of his first film – Cinemascope (his

in The films of Luc Besson
The Second Situationist International on freedom, Freddie, and film
Mikkel Bolt Rasmussen

reading George Lukàcs’ highly speculative Hegelian-Marxist works from the 1920s and participating in meetings with the Trotskyist Socialisme ou Barbarie group, Nash was much more aligned to a kind of anarchist modernism where art should be realised here and now in spontaneous transgressions in which the artist transformed the audience into participants. In Denmark and Sweden, where Nash was active, class struggle seemed to be in the process of gradually being replaced by a new class compromise in which the working class was integrated into the state, leaving art

in Surrealism and film after 1945
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Gemma King

/50 gender equality initiative and the Club des 13, alongside fellow French directors Pascale Ferran and Claude Miller. Yet Audiard’s films are also frequently intersectional and even transgressive, often looking far beyond domestic frames of reference and crossing cultural, linguistic and national borders to explore hybrid and non-normative identities that challenge the norms of French cinema. Perhaps more

in Jacques Audiard