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Kate Ince

closer and closer to their protagonists’ bodies in a way that emphasises the continuous struggle for survival, the effort of material and physical existence. The most striking common ground occupied by some of this group of directors, however, must be the attention to ethical and political concerns that so profoundly marks the cinema of the Dardenne brothers and Haneke, and is arguably present in the complex patternings of desire

in Five directors
Ian Aitken

, Lukács believed, would, like the Ontology , also mark a return to the classical nineteenth-century Marxist tradition, was mainly pursued through the writing of journal articles, and the granting of numerous interviews, some of which were published in the film journals Filmkultúra and Cinema Nuovo . This twofold and corresponding philosophical and political undertaking

in Lukácsian film theory and cinema
Russ Bestley and Rebecca Binns

showed their egalitarian approach by encouraging readers to submit work or start their own fanzines. Readers were urged to be active participants rather than passive consumers. Punk zines – and fanzines more generally – were liberated from many of the marketing constraints associated with commercial magazines and as such they could foster alternative forms of communication and editorial content. This enabled their creators and readers to define their identity, political leanings and culture autonomously rather than in response to consumerist dictates. In particular

in Ripped, torn and cut
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Brigitte Rollet

1970s, hers is in many ways unique, and it could be said that throughout her career she has skilfully mixed tradition and innovation, in topics as well as in very personal rewriting of existing narrative forms. The first chapter of this book is devoted not only to some relevant biographical aspects of Coline Serreau’s personal and artistic life, but also to the social, historical and political context of her debut. Since the beginning, she has seemed to follow different trends and traditions which are central to both French cinema

in Coline Serreau
Rosa Linda Fregoso

Lourdes Portillo is a highly regarded filmmaker who works on the borders between two or more cultures and film traditions. In the span of thirty years, Portillo has made over twenty films and videos that give voice to the social, political and cultural concerns of Latina/o communities across the Americas. Her first film, Después del terremoto ( After the Earthquake ), is

in Hispanic and Lusophone women filmmakers
Open Access (free)
Ian Scott and Henry Thompson

Thomas Anderson, Darren Aronofsky, Christopher Nolan and the Coen brothers, he still extended his artistic reach, consolidating himself both as a filmmaker that producers and production crews alike are keen to work with, and as a totem for a range of Left-​ leaning causes and critiques marshalled against the government and media. Indeed, while the veneration of the Hollywood establishment reduced, Stone’s auteur brand –​strengthened ironically enough by his political credentials –​actually increased in some overseas territories. Nevertheless, the commercial environment

in The cinema of Oliver Stone
Riot grrrl and body politics from the early 1990s
Laura Cofield

18 ‘Angry grrrl zines’: Riot grrrl and body politics from the early 1990s Laura Cofield The body was fundamental to riot grrrl politics and performance. In the writing of ‘SLUT’ on their torsos, unconventional dancing and singing styles, the growing of their body hair, and in encouraging ‘grrrls to the front’ at gigs; the body was used to subvert expectations of young women’s appearance and the spaces in which they could participate. The embodiment of a subversive style was part of a wider ethos of disruption and reclamation within riot grrrl concerning female

in Ripped, torn and cut
Hyangjin Lee

emerged in one country during the USA–Soviet occupation period (1945–48). The ideological confrontation between the communist North and capitalist South finally led to war in 1950, which lasted for three years until 1953. The division of the country as stipulated by the Allies at the Cairo Summit in 1943, became a part of the post-war global politics, even before the end of Japanese colonial rule. The primary concerns of the

in Contemporary Korean cinema
Black Audio Film Collective and Latin America
Paul Elliott

During the 1980s, a number of British filmmaking collectives sought to combine avant-garde practices with the emerging field of postcolonial analysis. 1 Drawing influence from Latin America, Asia and Africa, the work of groups such as Ceddo, Sankofa and Retake in the 1970s represented a break from the more avant garde wing of British art cinema that was, by and large, dominated by structuralism, materialism and an onus on form. Their work was consciously political and deeply rooted within the communities the film-makers sprang from. The

in British art cinema
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Hyangjin Lee

The film industries of North and South Korea adopt totally different production and distribution systems under opposite state ideologies: communism and capitalism. This is manifest in the representation of ideology in their films. The comparative analysis of the selected films from South and North Korea divulges a complex relationship between the political and economic bases, and the cultural forces of society

in Contemporary Korean cinema