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Local Hero and the location of Scottish cinema
Ian Goode

) Colin McArthur is less forgiving: ‘A glance at the history of modern (particularly Highland) Scotland will indicate the gulf between what Scots are imagined to do, the autonomy over their own country they are posited to wield, in films such as Whisky Galore! , The Maggie and Local Hero , and what actually happens in the “real” world of politics and economics’ (McArthur, 2003 ). Scottish critics

in Cinematic countrysides
Abdellatif Kechiche and the politics of reappropriation and renewal
James S. Williams

5 Re-siting the Republic: Abdellatif Kechiche and the politics of reappropriation and renewal Space and being in contemporary French cinema Re-siting the Republic – Abdellatif Kechiche France, the country of freedom, the country of Voltaire. (La Faute à Voltaire) I have a dream that our suburbs will rise up. (A. Kechiche) With the striking exception of Vénus Noire/Black Venus (2010), a historical fiction about the life of Saartjie Baartman (the so-called ‘Hottentot Venus’) that goes back in time and leaves the borders of the Republic, the cinema of Abdellatif

in Space and being in contemporary French cinema
Sally Shaw

Pressure was the first British feature film to be written and directed by a Black film-maker, Horace Ové. Made during a particularly turbulent period in British race relations, and released in the UK in 1976, Pressure tackled thorny issues such as racism in the workplace, Black homelessness and police brutality head-on. As this chapter will argue, Pressure was much more than a polemical film. In its sensitive portrayal of the gradual political awakening of Tony (Herbert Norville), a ‘second generation’ Black youth, Pressure also

in British art cinema
‘Performing’ la crisis
Maria M. Delgado

the work of Spain’s most animated screen performers from the 1950s, 1960s and 1970s –​positioning the film within a consciously ‘staged’ world. Described by Almodóvar as his most political film to date (Almodóvar 2013a), Los amantes pasajeros is a film about Spain’s extra-​ordinary social situation. At a time when he is categorised as a bête noire of the ruling Partido Popular or Should be People’s Party, Almodóvar opts not for stylised realism or a plot that overtly comments on contemporary events but rather uses the mechanism of a screwball comedy set up in the

in Performance and Spanish film
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

1990s, a sophisticated media genre. Dramatising the incursions of a colour present into a black and white past, Pleasantville creates a narrative based on the cultural apotheosis, ‘not everything is as simple as black and white’. Tapping into the spectacular growth of nostalgia networks on cable television during the 1990s, the film uses digital techniques of colour conversion to affect a political

in Memory and popular film
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Joseph Losey and the crisis of historical rupture
Colin Gardner

critical distance from the ideological orthodoxies of the class establishment – spawning an affecting sympathy for the underdog – but also a broader historical understanding of the crisis of personal and collective commitment that took centre stage in British intellectual life after World War II. As Losey’s biographer David Caute points out, ‘Losey’s life embraces a major crisis in political commitment (the 1930s) and public

in Joseph Losey
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Carrie Tarr

There is a moment in Eric Rochant’s comedy Vive la République! (1997) when a group of (mostly) unemployed young people, who have decided to set up a new political party to challenge what they perceive as the exclusionary politics of the French Republic, agree that the one beur present (a young man of Maghrebi origin) should represent both blacks and beurs ( figure 1 ). The film mocks their token and ineffectual mobilisation of

in Reframing difference
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Continuing negotiations
Julia Dobson

forces (across frameworks of production, performance and reception) to create inclusive synergies of the pleasurable, the personal and the political remain powerful and important. The central tensions enumerated in Stoll’s list will echo throughout the Introduction and the following chapters, as the diverse range of films discussed perform complex negotiations between the intimate and the universal, between the

in Negotiating the auteur
Douglas Morrey

itself a political use of film: it returns to a more artisanal mode of production, doing away with the divisions of labour associated with commercial filmmaking; and it also challenges consumer culture’s ‘promise of the new’ by suspending the production of images (Price 1997 : 68) (Godard’s use of found footage would become increasingly common in his subsequent career, as we shall see). As the name of

in Jean-Luc Godard
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Alison Smith

). 1 Télérama was not alone in remarking on the emergence of a new current in the cinema. In April of the same year, Jeune cinéma recorded the same tendency: A few films since 1968 bear witness to new priorities and a new style … They have the explicit project of expressing reality, which lays them open to criticism both of their authenticity and of their political significance. Their interest in non-bourgeois characters, and environments which don’t belong to the triumphant consumer society

in French cinema in the 1970s