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Brian McFarlane

reviews of other films or novels in which the reviewers have found echoes or, indeed, parallels with Brief Encounter. Casual allusions To give some idea of these eclectic usages, here is a sample of books and articles that draw on the title, whether as a title or as a verbal echo. In his memoir, actor-director Bryan Forbes wrote of a short film he and a colleague were making in the early days of his career. Called Saturday Night , and perhaps never released, it concerned ‘a young man who

in The never-ending Brief Encounter
Jeremy Strong

major literary figures as Voltaire, Alexandre Dumas, and Victor Hugo. Equally, it should be noted that Pagnol’s election to the Academy in 1946 rested essentially on his achievements as a filmmaker and playwright; the first filmmaker ever elected to the Academy, at that time his work in the forms of the novel and the memoir were still to come. Bowles argues that Pagnol’s ‘legacy as a French cultural icon depends largely on the enduring appeal of his trilogy of films set in Marseille – Marius (1931), Fanny (1932) and César (1936), the first two co-directed adaptations

in French literature on screen
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Les Amants du Pont-Neuf and the spectacle of vagrancy
Fergus Daly and Garin Dowd

by Michèle to view the Rembrandt self-portrait – ‘Mémoires d’aveugle’, the presiding concept behind which is the idea that one is wounded by what one sees (Taboulay 1991 : 16–17). This notion of a parasitic constituent inhabiting the sensory field embraced by a given sense finds an abundance of echoes in the film. Soundtrack, vision-track In the métonymie form of the film’s two lovers, Carax places the

in Leos Carax
Richard Hewett

sound crews, would wear headphones to receive directorial instructions spoken into a microphone from the gallery. Michael Barry later provided a detailed description of the typical events of transmission day in his memoir From the Palace to the Grove (1992). The first rehearsal on Saturday morning would see the cast replicating the blocking which had been carefully worked out at Gower Street for the camera, lighting and sound crews. During the first technical rehearsal the director would talk his crews through the pre-​planned set-​ups, making any adjustments that

in The changing spaces of television acting
Brett Bowles

Marseilles and Aubagne. Later recounted with lyrical nostalgia in his novelistic memoir Souvenirs d’enfance (1957–59), the young Marcel’s vacations in the countryside instilled in him a strong sense of regional identity and underscored the contrast between rural and urban culture, thereby providing the central themes for his future screenplays. Equally important, his exploration of the area also served as an unconscious

in Marcel Pagnol
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Carrie Tarr

treatment they received in France, documented in Yamina Benguigui’s Mémoires d’immigrés (1997–98). 9 Official histories have been similarly silent both about the contribution of immigrants to the development of French society and, specifically, about France’s harsh treatment of the Algerians. 10 Until relatively recently, for example, there has been a collective amnesia about events which took place on or around 17 October 1961, when between

in Reframing difference
Contested borders and blurred boundaries in On the Black Hill
Kate Woodward

centuries of continuous occupation confirm the land as the vessel which safeguards and nurtures all cultural traditions’.30 The narrative of On the Black Hill takes place within ‘a few square miles’, with the family hardly ever leaving the farm.31 D. J. Williams referred to the power of the milltir sgwâr (the square mile) in his memoir Hen Dy Ffarm (1953), in which he speaks of the area in which he grew up: Dysgais ei charu, mi gredaf, cyn dysgu cerdded. Ni theithiais y darn yma o wlad erioed … heb deimlo rhyw gynnwrf rhyfedd yn cerdded fy natur –​cynnwrf megis un yn

in British rural landscapes on film
Etre et avoir
Thomas Austin

, Kevin Macdonald’s adaptation of the climbing memoir Touching the Void. Notes 1 2 3 4 5 6 03chap two.p65 David Lockwood, ‘Marking out the middle class(es)’, in Tim Butler and Mike Savage (eds), Social Change and the Middle Classes (London, UCL Press, 1995), p. 1. See also Mike Savage, James Barlow, Peter Dickens and Tony Fielding, Property, Bureaucracy and Culture: MiddleClass Formation in Contemporary Britain (London, Routledge, 1992). Ann Gray, Research Practice for Cultural Studies (London, Sage, 2003), p. 51 The American sociologists Peterson and Kern have

in Watching the world
Clouzot’s post-war films
Christopher Lloyd

adaptations) is remembered principally as a romantic story of tragically thwarted love. Apart from its portrayal of a beguiling femme fatale, the novel does however contain important reflections on historical circumstance and personal responsibility; these merit brief revaluation, since they are also central to Clouzot and Ferry’s version. The Histoire du Chevalier des Grieux et de Manon Lescaut is the seventh volume of a lengthy picaresque novel entitled Mémoires et aventures d’un homme de qualité (1728–31). The principal narrator encounters des Grieux twice: first, when the

in Henri-Georges Clouzot
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Christopher Lloyd

films 171 Bibliography Andrew, Dudley (1984), Concepts in Film Theory, New York, Oxford University Press Bardot, Brigitte (1996), Initiales B.B. Mémoires, Paris, Le Grand Livre du Mois Bocquet, José Louis and Marc Godin (1993), Henri-Georges Clouzot cinéaste, Paris, La Sirène Bordwell, David (1985), Narration in the Fiction Film, Madison, University of Wisconsin Press Carrel, Dany (1991), L’Annamite, Paris, Laffont Crisp, Colin (1997), The Classic French Cinema 1930–1960, Bloomington, Indiana University Press/London, I.B. Tauris Dyer, Richard (1979), Stars, London

in Henri-Georges Clouzot