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emptying its people and places of their individual identities, enabling readers and spectators alike to project their own stories, thoughts and fantasies on to the bare outlines offered. If Duras’s creative enterprise was shaped to a large extent by memories of her childhood and adolescence, her involvement in the political history of France since the Second World War played an equally important role, particularly in her cinema. Indeed, a

in Marguerite Duras
Inventing popular culture in contemporary France

1 Politics and pleasure: inventing popular culture in contemporary France David Looseley France is an invention, a conceptualisation. (Kuisel 1996: 5–6) T Introduction his first chapter focuses on political conceptualisations of popular culture in France, by which I mean conceptualisations developed by governments, parties, national institutions and the kind of public intellectuals who, as Ahearne (2010: 2) puts it, ‘have moved in and out of positions within public policy processes’. Other chapters in this volume will be concerned with popular

in Imagining the popular in contemporary French culture
Isadora Duncan’s danced revolution

28 2 ‘I dreamed of a different dance’: Isadora Duncan’s danced revolution Modern dance innovator Isadora Duncan (1877–​ 1927) truly moved beyond boundaries, both choreographically and politically. Born in San Francisco, then dancing with Augustine Daly Dance Theatre in 1896, she moved from London to Paris to Berlin in quick succession, performing in salons and achieving success before the age of twenty. In 1905 she established her first school in Germany, aimed at children of all classes, and in 1914 she went to the US and transferred her school there. Duncan

in Dance and politics
Martha Graham, dance and politics

48 3 ‘The body says what words cannot’: Martha Graham, dance and politics Before Isadora Duncan’s untimely exit from the world stage in 1927, she and Martha Graham (11 May 1894–​1 April 1991)  shared the limelight for a while. After training in 1910 in the Denishawn School of Dancing and Related Arts, mentored by Ruth St. Denis and Ted Shawn, in 1926 Graham founded the Martha Graham School of Contemporary Dance, creating a hub for ongoing embodied conversations and revolutions in American dance. Those revolutions continue, they spill into multiple dancing

in Dance and politics
Writing on the body

11 1 Moving beyond boundaries: writing on the body The book is written by many bodies who danced and inscribed their worlds upon the intersections between dance and politics. The argument is a three-​dimensional space bounded by three axes; in this chapter I elaborate, explore and problematise the three axes which demarcate the space of the argument. The ontology upon which the argument acts is twofold. On the one hand the argument is grounded in the dancing bodies of those subjects whose political intervention has written upon the argument. On the other hand

in Dance and politics

6 Before and after the political While he was editing Entre les murs, Cantet was given Joyce Carol Oates’s classic American novel, Foxfire: Confessions of a Girl Gang to read. First published in 1993, the novel presented itself as a mature woman’s account of her 1950s youth and involvement with a gang of girls spurred into revolt against an oppressive, male-dominated society. Cantet was gripped by the book and unsurprisingly drawn to an adaptation. The novel contains so many of his favourite themes: the collision between the utopian and the real; shame and

in Laurent Cantet

Cochet ou le tennis that certain of these motifs would soon find a more fully poetic and more explicitly political expression in Zéro de conduite . In the latter, Vigo was to develop his heart-felt denunciation of the oppressive educational system, as well as his lyrical celebration of adolescent fun and games. As for Cochet ou le tennis, at first the outline was approved by the production team at GFFA, and Vigo was even

in Jean Vigo
Lady Morgan‘s The Wild Irish Girl

In 1807, the Duchess of Bedford and several of her circle attended a performance of the opera The First Attempt at Dublin‘s Theatre Royal. Their hair was not coifed in the style of the day but rather swept up and fastened with golden bodkins in the ancient Irish manner. Soon this became all the rage in polite Irish society, and Dublin jewellers, struggling to compete, took out advertisements to accuse other firms of making less than authentic replicas. Indeed, the great demand in Dublin for these golden bodkins inflated the price of gold in Ireland. Drapers soon saw a business opportunity in this Celtic fashion renaissance and started producing the `Glorvina Mantle, a flowing scarlet cape, ideally secured with golden replicas of Celtic broaches. Eventually these ancient Gaelic styles made their way to London and became fashionable among ladies from the upper class. The popularity of this exotic dress resulted from a confluence of factors. While the growing interest in Irish antiquarianism, the European fascination with orientalism and the popularity of Gothic romance fed the fire, the spark that ignited the blaze was The Wild Irish Girl, a novel written by a young Irish governess. Not only does this fashion craze bear witness to the popularity of the text, but so do the sales figures. This popular novel, first published in 1806, went through seven editions in two years, and was even successful on the Continent, especially in Germany, where the young authors popularity almost eclipsed Scott‘s and Byron‘s and her sales figures surpassed those of her fellow Irish writers, Maria Edgeworth and Charles Maturin. In fact, the great Gothic writer Maturin openly borrowed from The Wild Irish Girl in his own work.

Gothic Studies
ESPN and the Un-Americanisation of Global Football

This article examines the cultural politics of American soccer fandom, with specific attention paid to the ways in which the sport is positioned and platformed by the major sports networks, including, especially, cable televisions biggest player in the United States, ESPN. The networks‘ failure to exploit soccer as a marketable commodity can be traced to a persistent American futility at the sport on the international level, but it evinces as well a larger American cultural problematic, one in which ethnocentrism and isolationism is disguised, as it often is, as American exceptionalism.

Film Studies

Pablo Corro‘s 2014 book Retóricas del cine chileno (Rhetorics of Chilean Cinema) is a wide-ranging examination of the style and concerns that have come to characterise Chilean film-making from the 1950s to the present day. Corro demonstrates how ideas of national cinema are always to some extent dependent on transnational currents of cinematic ideas and techniques, as well as on local political contexts. The chapter presented here, Weak Poetics, adapts Gianni Vattimo‘s notion of weak thought to discuss the growing attention paid by Chilean films to the mundane, the everyday and the intimate. Corro‘s dense, allusive writing skilfully mirrors the films he describes, in which meaning is fragmented and dispersed into glimpsed appearances and acousmatic sounds. Corros historicisation of this fracturing of meaning allows the cinema of the everyday to be understood not as a retreat from politics, but as a recasting of the grounds on which it might occur.

Film Studies