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Paul Merchant

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
Alison Smith

be the forerunner of a number of films which adopted the narrative and visual conventions of the policier in order to examine suspect political scandals or social abuses. This typical 1970s genre was soon christened by its detractors the série-Z , by analogy with série-B , ‘B-movies’. The obviously unflattering connotations of the term reflect the fact that, at the same time as a number of imitators, Z sparked a lively polemic among the critical press, which continued to rage around the subsequent exponents of the genre. 1

in French cinema in the 1970s
The articulation of ideology andmelodrama in Czechoslovak communist television serials, 1975–89
Irena Carpentier Reifová, Petr Bednařík and Šimon Dominik

6 Between politics and soap: The articulation of ideology and melodrama in Czechoslovak communist television serials, 1975–891 Irena Carpentier Reifová, Petr Bednařík and Šimon Dominik During the period of Czechoslovak normalisation2 (1969–89), an important centre of everyday life was the private living room. As David Morley claims, home territories are far from being innocent, neutral spaces isolated from social and political processes (Morley, 2000). The family living room, decorated with floral curtains, plush coverings and wavering bluish light from an old

in Popular television in authoritarian Europe
Hilary Neroni

political regimes as such fail. At the heart of most of Costa-Gavras's films lies this ambition to shed light on where political regimes fail the people they claim to be representing. Through this endeavor, Costa-Gavras attempts to reveal where this failure occurs, specifically in the complicated and hard-to-see web of secret government machinations, as those in charge attempt to force reality into the narratives political regimes tell about themselves. His films point out that at the heart of every political narrative is a structure which ultimately demands that

in The films of Costa-Gavras
Espionage as a public service in Spooks (BBC 1, 2002–11)
Joseph Oldham

6 The precinct is political: espionage as a public service in Spooks (BBC 1, 2002–11) Although the 1990s proved something of a moribund period for the British television spy series, following the turn of the ­mil­lennium the BBC would experience great success with Spooks (BBC 1, 2002–11), an ongoing espionage-themed drama developed as a new flagship programme for its majority interest channel BBC 1. This series centred on the officers of Section D, a fictional counter-terror unit situated within the real British Security Service (MI5). Spooks made its debut in

in Paranoid visions
Hugo Frey

Readers may well have extrapolated from Malle’s contribution to the events of May ’68 and his films of the 1970s and 1980s that the director, despite his social origins, was broadly speaking from the left-wing of the political spectrum. In fact, Malle is a far more politically fluid film-maker than his later work implies. As Malle was to himself admit, he once held complex cultural affinities with

in Louis Malle
First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal
David Forrest and Sue Vice

2 The politics of hope in 1970s Britain First Signs, Speech Day, The Gamekeeper, Tom Kite, The Price of Coal In this chapter, we focus on a period of extremely fruitful aesthetic production for Hines, in terms of the novels and screenplays that followed A Kestrel for a Knave. During the 1970s, Hines’s political energies were directed towards considering the institutions and structures of life at a time of active struggle for workers’ rights. Thus industrial action is apparent in First Signs (1972) on the part of its increasingly radicalised protagonist, who is

in Barry Hines
Guy Austin

history plus the often dysfunctional relation between the state and the people makes what he calls the Algerian problem ‘la limite extrême de tous les problèmes sociaux et politiques’ [the extreme example of all social and political problems] (Bourdieu 1997 : 21). Bourdieu identifies key issues in the recent history of Algeria as originating in the after-effects of colonialism and the war of liberation against the French (1954

in Algerian national cinema
Open Access (free)
Dana Mills

1 Introduction Our political world is in constant motion. Our lives are continually shifting. Collective communicative structures which have held us together in various forms of communal life are relentlessly being challenged by new languages. Practices that have bound human beings together for thousands of years are transformed, gain new meaning and receive renewed significance. This book is a study of one such practice, dance. The book intervenes in critical conjunctures in political theory, bringing together new reflections on the moving body, spaces of

in Dance and politics
Open Access (free)
Dana Mills

99 6 Dancing human rights We have seen that ever since Isadora Duncan entered the stage of political dance, various instances of sic-​sensuous have been performed on the stage of the argument by bodies contracting into themselves and releasing to other bodies, moving and being moved. Those bodies affirm their equality to other bodies –​whether the dancing bodies they intervene against, or bodies inhabiting other worlds that deem them unequal. From Martha Graham’s audiences who are uninvited spectators to the gumboot dancers in South Africa and the flash mob

in Dance and politics