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Doing what you want to do
Brian McFarlane and Deane Williams

desperate search for Pearl (Dan Futterman) [a Wall Street Journal reporter and Winterbottom’s third journalist protagonist] before the release of the appalling video showing him being beheaded. It is told largely through the eyes of and based on a memoir by his widow, Mariane. 5 This is not, it seems, merely an exciting

in Michael Winterbottom
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Race and representation in recent
James Burton

’s criticism do underline the ambiguity with which these plots are presented and the absence of a clear editorial statement. An explanation for Call the Midwife returning to the idea of miscegenation can be found in Worth’s memoir. The first volume features three chapters that recount births ‘of mixed descent’, the two incorporated into the series and a third in which the expectant mother fears ‘the baby’s goin’ to be black. [My husband]’ll kill me’, only for her baby to be born white and the midwife sworn to secrecy.13 Immigration is rarely broached in Worth’s memoirs and

in Adjusting the contrast
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Stardom and literary adaptation
Ginette Vincendeau

Pedigree. The blurring of the boundaries between Simenon and his creature culminated in 1951 with the publication of Les Mémoires de Maigret, in which, in an extraordinary mise-en-abîme, ‘Maigret’ describes his relationship with the author who created him, while the latter explains that he deliberately drew the policeman as a simplified, instantly recognizable silhouette, ‘that gradually became fleshed out with details’.5 Maigret as celeactor Like all adaptations, the screen versions of Maigret are the site of ongoing negotiations between the literary text and mise

in French literature on screen
Sous les pieds des femmes and Vivre au paradis
Carrie Tarr

Rachida Krim (1997) and Vivre au paradis by Bourlem Gherdjou (1998), two first feature films set in part during the time of the Franco-Algerian war; Le Gone du Chaâba (1998), a feature film by white director Christophe Ruggia, but faithfully adaptated from Azouz Begag’s 1986 autobiographical coming-of-age novel, set in a bidonville (shanty-town) outside Lyons in the mid-1960s; and Yamina Benguigui’s highly acclaimed documentary triptych, Mémoires

in Reframing difference
Open Access (free)
The early films of John Marshall and Timothy Asch
Paul Henley

. Then, again as in the earlier film, the event is allowed to play itself out without any further narration. The Feast has a great number of merits and is considered by many to be a classic of anthropological filmic pedagogy. However, it also suffers from certain limitations. In the first place, it is clear from the very honest memoir that Asch published some years later that he was barely able to keep abreast of what was going on. The social complexities of the shoot were

in Beyond observation
Mark Neumann and Janna Jones

married to Monteux) appear in Miss Olympia , and Davis credits them with the storyline. Hilda and Doris were from a working-class family that had lived near ‘Bar Harbor’. In an unpublished memoir, Hilda remembers the division between the summer and the year-round residents. ‘The natives labelled the summer people “rusticators” and “people from away” and had a feeling of dichotomy about this moneyed class

in Cinematic countrysides
Derek Schilling

versions of literary classics, by Heinrich von Kleist and Chrétien de Troyes respectively; L’Anglaise et le Duc (2001), produced after the Contes des quatre saisons , brings to the screen a nineteenth-century memoir by Scottish aristocrat Lady Grace Elliott, while Triple agent (2004) draws on historians’ narratives, newspaper articles, and legal documents related to a little-known espionage case of 1937, the

in Eric Rohmer
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Brian McFarlane

bibliophile in New York, Helene Hanff, published The Duchess of Bloomsbury Street , a memoir about her visit to London to meet people associated with a Charing Cross Road antiquarian bookshop. She had engaged in a lengthy correspondence with its manager, Frank Doel, and their exchange of letters metamorphosed into book form, bearing the shop’s address as its title. In this volume (reprinted many times during the next decade) a very engaging sense of character interplay emerged. Its next incarnation was as a 1975 television production as one in the Play for Today series

in The never-ending Brief Encounter
Open Access (free)
Civil rites of passage
Sharon Monteith

‘presentism’, whereby the pressures of the present distort our understanding of the past. 6 Character-led dramas (often based on autobiographical novels, and memoir – like Crisis at Central High , Heart of Dixie, and Passion for Justice: The Hazel Brannon Smith Story ) promote a single monologic point of view to create what has ubiquitously come to be known as a ‘useable past’, in which resolution and

in Memory and popular film
John Izod, Karl Magee, Kathryn Hannan and Isabelle Gourdin-Sangouard

’, The Guardian (3 October 2002), www.guardian.co.uk/film/2002/oct/03/artsfeatures.features (accessed 3 August 2010). 13 Lindsay Anderson, ‘Sport, Life and Art’ (February, 1963) in Never Apologise , 90; Gavin Lambert, Mainly About Lindsay Anderson: A Memoir (London: Faber and Faber, 2000) 92

in Lindsay Anderson