This book introduces readers to the cinema of Louis Malle. Malle needs little further preliminary discussion here. His is a body of work that most film critics around the world recognise as being one of the most productive in post-war international cinema, including as it does triumphs such as Ascenseur pour l'échafaud; Le Feu follet; Lacombe Lucien; Atlantic City USA, and Au revoir les enfants . Malle's work attracted intense public controversy, with a new Malle film being just as likely to find itself debated on the front page of Le Monde or Libération as reviewed in the film section of those newspapers. Malle's four major films of the 1970s represent a fusion of the youthful bravado and confidence of the 1950s combined with the new political questioning adopted in the late 1960s. Le Souffle au cœur, Lacombe Lucien, Black Moon, and Pretty Baby were made in relatively quick succession and each engaged in controversial and divisive themes. The book analyses Malle's political journey from the cultural right-wing to the libertarian left, to explain how Le Souffle au cœur marked a radical break with the 1950s by speaking of that era through a comic mode. It explores how Lacombe Lucien works as a film, to discuss its core rhetorical devices and what they mean today. The book also demonstrates that Malle is too complex to be explained by one theory or interpretation, however tempting its conclusions.
More English than the Brits' proclaims one of the chapter headings in Michel Ciment's seminal series of interviews with Joseph Losey. Losey's life embraces a major crisis in political commitment and public tolerance (the blacklist); his career, his oeuvre, spans the most fundamental cultural confrontation of the century, between Marxism and Modernism, between progressive "realism" and the avant-garde subversion of optimism. Losey began his directorial career in the leftist political theatre of the 1930s. For Losey, as for many leftists of the period, Communism meant allegiance to the Soviet ideological model, and by extension, to Stalin's policies. The 1950s proved to be a difficult decade for Joseph Losey, a period marked by prolonged exile, the ever-lengthening reach of the blacklist and the constant fear of betrayal. The Sleeping Tiger, The Intimate Stranger and A Man on the Beach were made during his period of exile in the 1950s. There was an experimental, writer-oriented focus in Joseph Losey's later work, opening the way for collaborations on a more equal footing. Losey collaborated three films with Harold Pinter: The Servant, Accident and The Go-Between. His involvement in Secret Ceremony, Boom! and Figures in a Landscape was a case of blatant economic necessity. Most of his work directly explores and addresses the ideological interpellation of women by analysing the cultural assumptions that both construct and perpetuate it. Losey officially became a tax exile after relocating himself from Chelsea to Paris because of tax problems.
The importance of environment in Barry Hines's writing means that insight into his background and the journey to his writing career introduces people to the recurrent preoccupations of his work. Much of the literary reception of Hines's work places him within a canon of working-class writing. This book is the first academic account of Barry Hines's work. It traces the roots of Barry Hines's literary mode of poetic realism in those works of the 1960s that preceded A Kestrel for a Knave. The literary promise Hines showed in The Blinder led to the filming of his novel A Kestrel for a Knave as Kes. The book focuses on a period of extremely fruitful aesthetic production for Hines. It also traces the aesthetic and political effects of the early years of Margaret Thatcher's Conservative government on Hines's writing. The archival history of Threads' drafts and production reveals the nature of its symbolic and factual relation to British politics in this era and how its mingling of documentary and dramatic tropes took shape. Looks and Smiles marked the end of Barry Hines's career-defining collaboration with Ken Loach. The exceptionally divisive events of the miners' strike of 1984-1985 had an acute effect on Hines's writing, just as they did on the terrain and communities of the South Yorkshire that he invariably depicts. The book explores the interconnected issues of class, space and place in Hines's writing, and the practice and purpose of working-class film, television and literature.
This book is a study of solo performance in the UK and Western Europe since the
turn of millennium that explores the contentious relationship between identity,
individuality and the demands of neoliberalism. With case studies drawn from
across theatre, cabaret, comedy and live art – and featuring artists,
playwrights and performers as varied as La Ribot, David Hoyle, Neil Bartlett,
Bridget Christie and Tanja Ostojić – it provides an essential account of the
diverse practices which characterise contemporary solo performance, and their
significance to contemporary debates concerning subjectivity, equality and
social participation. Beginning in a study of the arts festivals which
characterise the economies in which solo performance is made, each chapter
animates a different cultural trope – including the martyr, the killjoy, the
misfit and the stranger – to explore the significance of ‘exceptional’ subjects
whose uncertain social status challenges assumed notions of communal
sociability. These figures invite us to re-examine theatre’s attachment to
singular lives and experiences, as well as the evolving role of autobiographical
performance and the explicit body in negotiating the relationship between the
personal and the political. Informed by the work of scholars including Sara
Ahmed, Zygmunt Bauman and Giorgio Agamben, this interdisciplinary text offers an
incisive analysis of the cultural significance of solo performance for students
and scholars across the fields of theatre and performance studies, sociology,
gender studies and political philosophy.
This book, which is about what ‘popular culture’ means in France, and how the term's shifting meanings have been negotiated and contested, represents a theoretically informed study of the way that popular culture is lived, imagined, fought over and negotiated in modern and contemporary France. It covers a wide range of overarching concerns: the roles of state policy, the market, political ideologies, changing social contexts and new technologies in the construction of the popular. But the book also provides a set of specific case studies showing how popular songs, stories, films, TV programmes and language styles have become indispensable elements of ‘culture’ in France. Deploying yet also rethinking a ‘Cultural Studies’ approach to the popular, it therefore challenges dominant views of what French culture really means today.
This collection brings together work on forms of popular television produced within the authoritarian regimes of Europe after World War II. Ten chapters based on new and original research examine approaches to programming and individual programmes in Spain, Greece, Czechoslovakia, Romania, the Soviet Union and the GDR at a time when they were governed as dictatorships or one-party states. Rather than foregrounding the political economy of television or its role as an overt tool of state propaganda, the focus is on popular television-everyday programming that ordinary people watched. An editorial introduction examines the question of what can be considered ‘popular’ when audience appeal is often secondary to the need for state control. With familiar measures of popularity often absent, contributors adopt various approaches in applying the term to the programming they examine and in considering the reasons for its popularity. Drawing on surviving archives, scripts and production records, contemporary publications, YouTube clips, and interviews with producers and performers, its chapters recover examples of television programming history unknown beyond national borders and often preserved largely in the memories of the audiences who lived with them. Popular Television in Authoritarian Europe represents a significant intervention in transnational television studies, making these histories available to scholars for the first time, encouraging comparative enquiry and extending the reach – intellectually and geographically – of European television history.
Few screen icons have provoked as much commentary, speculation and adulation as the 'she' of this plaudit, Catherine Deneuve. This book begins with a brief overview of Deneuve's career, followed by a critical survey of the field of theoretical star studies, highlighting its potential and limitations for European, and particularly French, film scholarship. It argues the need for the single-star case study as a model for understanding the multiple signifying elements of transnational stardom. Her first role, at the age of 13, was a brief appearance as a schoolgirl in André Hunebelle's Collégiennes/The Twilight Girls. It was in 1965 that Roman Polanski would cast Catherine Deneuve in Repulsion, described by one critic as a 'one-woman show' in a role that would effectively create a persona which would resonate throughout her future film career. The darker shades of the Deneuve persona are in even greater evidence in Tristana. Demy's Donkey Skin is arguably an equal source of the tale's iconic status in France today, and largely because of Deneuve. The book also investigates films of the 1970s; their role in shaping her star persona and the ways in which they position Deneuve in relation to French political culture. The book considers exactly why directors gravitate towards Deneuve when trying to evoke or represent forms of female homosexual activity on film, and to consider exactly what such directors actually make Deneuve do and mean once they have her performing these particular forms of lesbian relation.
Cinema's engagement with 1968 was perhaps most in evidence in the auteur
sector of the French industry. This book presents a study that aims to consider
the ways in which the shake-up in French perceptions transferred itself to
French cinema screens during the following decade. The emphasis is in the
changes which occurred during the 1970s in the French output of films which
could be seen by an average metropolitan cinema-goer without making such special
efforts as joining a cine-club or seeking out films shown in community centres
or to special interest groups. The most frequently noticed effect of the new
post-1968 climate on the French cinema was a change in the nature of the
thriller. The book focuses on three 1970s political thriller: série-Z,
Yves Boisset's L'Attentat, and René Gainville's Le
Complot. It looks at some films of the early 1970s which retain a
consciously politico-social approach to their protagonists' problems, which
conform to the broad description of 'new naturalism' in terms of
narrative and protagonist. The 'New Naturalism' movement outlived its
connection to 1968, and in the course of its development launched some of the
most significant new film-makers to come to prominence in this decade, such as
Jacques Doillon, Jean Eustache or Claude Miller. It concentrates on the two very
different cinematic Utopias imagined by Claude Faraldo: Bof! and
Themroc. The book also considers two film-makers: William Klein and Alain
Tanner, whose work encapsulates many of the currents and issues.
This book argues that music is an integral part of society – one amongst various
interwoven forms of social interaction which comprise our social world; and
shows that it has multiple valences which embed it within that wider world.
Musical interactions are often also economic interactions, for example, and
sometimes political interactions. They can be forms of identity work and
contribute to the reproduction or bridging of social divisions. These valances
allow music both to shape and be shaped by the wider network of relations and
interactions making up our societies, in their local, national and global
manifestations. The book tracks and explores these valances, combining a
critical consideration of the existing literature with the development of an
original, ‘relational’ approach to music sociology. The book extends the project
begun in Crossley’s earlier work on punk and post-punk ‘music worlds’,
revisiting this concept and the network ideas underlying it whilst both
broadening the focus through a consideration of wider musical forms and by
putting flesh on the bones of the network idea by considering the many types of
interaction and relationships involved in music and the meanings which music has
for its participants. Patterns of connection between music’s participants are
important, whether they be performers, audience members or one of the various
‘support personnel’ who mediate between performers and audiences. However, so
are the different uses to which participants put their participation and the
meanings they co-create. These too must be foci for a relational music
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.