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Bill Marshall

et Martin, Les Egarés) and especially Michèle Moretti, whose collaboration with Téchiné goes as far back as Marc’O’s theatre group in the 1960s (Paulina s’en va, Souvenirs d’en France, Rendez-vous, J’embrasse pas, Ma Saison préférée, Les Roseaux sauvages). Téchiné always writes his own screenplays, but always in collaboration with at least one other. He has worked regularly with two former Cahiers critics who are now film directors: Pascal Bonitzer (Les Sœurs Brontë, Le Lieu du crime, Les Innocents, Ma Saison préférée, Les Temps qui changent), who has also done

in André Téchiné
Abstract only
Thomas Linehan

Daily Worker, 2 June 1930, p. 4. 10 Workers’ Weekly, 20 June 1924, p. 6. 11 Workers’ Weekly, 14 December 1923, p. 2. 12 The Communist, 27 January 1923, p. 8. 13 Workers’ Weekly, 25 July 1924, p. 2. See also, Workers’ Weekly, 11 August 1923, p. 2. 14 Karl Marx, Wage Labour and Capital, in Karl Marx and Frederick Engels, Selected Works in One Volume (London: Lawrence & Wishart, 1968), p. 93. 15 Karl Marx, Capital: A Critique of Political Economy, Volume 1 (Harmondsworth: Penguin, 1976), p. 342. 16 Ibid., p.367. 17 Franco Moretti, Signs Taken For Wonders: Essays in the

in Communism in Britain 1920–39
Susanne Becker

equality of the sexes and mature love are possible. The archetypal Cinderella plot, which jane’s story has also been read as (e.g., Moretti 1987 , 185–9), is effectively discarded by gothic excess and this version of escape. Her female success story relies on a strong vision of gender equality, which ultimately requires the destruction of Thornfield, Rochester’s dependency and jane

in Gothic Forms of Feminine Fictions
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Philippe Garrel, an irregular auteur
Michael Leonard

, and between film-making and resistance. Critical contexts Although reference will be made throughout this study to the various scholarly and popular critical sources that discuss Garrel’s work, it is instructive at this point to review some of the key publications that have engaged with specific films, periods or tendencies within Garrel’s career. In comparison with other film-makers of a similar generation and output (for example, Chantal Akerman, Wim Wenders or Nanni Moretti), writing on Garrel’s cinema remains limited and fragmentary. Critical responses to

in Philippe Garrel
Marie Mulvey-Roberts

supernatural ability to transmute base metal into gold. 88 The legend provided anti-Semites with a convenient analogy for how they saw Jews manipulating the wealth of the world ( Figure 8 ). In monetary terms, the threat of Dracula reverts back to ‘the tyranny of feudal monopoly’, which, as Franco Moretti explains, threatens the circulation of capital in a free British

in Dangerous bodies
Piero Garofalo, Elizabeth Leake and Dana Renga

homegrown heroes.61 Recall the scene from Nanni Moretti’s film Aprile (1998):  when Silvio Berlusconi wins the election, the 25 April memorial celebrations suddenly gain real relevance. The nation, as Emilio Gentile reminds us in La grande Italia, only came back into view in the mid-​ 1990s.62 Berlusconi’s ascent to power in 1994 and the subsequent renewed interest in Fascist strategies for suppressing dissent –​and their contemporary correlatives –​ changed the national discourse about internal exile yet again, offering a new declension of the legacy of Fascism and an

in Internal exile in Fascist Italy
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Rupture and transmission
Julia Dobson

, writing and acting locate her firmly within her generation of French filmmakers, wider comparisons with the profiles of a wider range of contemporary directors of accessible and self-reflexive tragicomedies including Nanni Moretti and Pedro Almodóvar are justified. Her films address the fragile construction of personal and social identities through the singular combination of multilayered intertextual

in Negotiating the auteur
Bill Marshall

Bouchez), the daughter of Communist schoolteacher Mme Alvarez (Michèle Moretti) has a non-sexual friendship with François (Gaël Morel), who lives for literature and cinema and who has a one-night branlette/wank with fellow-boarder and peasant son Serge (Stéphane Rideau). It is the Algerian war which acts as catalyst for the transformations that follow. Serge’s brother Pierre (Eric Kreikenmayer), who had asked Mme Alvarez to help him desert, is killed there by the OAS. An older student, Henri (Frédéric Gorny), is a repatriated and families and sexualities 87

in André Téchiné
Will Jackson

Carothers, 21 September 1948. 23 See, for example, the case files of Allesandro Moretti, MMH: EU.M.34/41; Umberto Pagano, MMH: EU.M.54/42; Vicenzio Pinto, MMH: EU.M.40/41; Giuseppe Bartolini, MMH: EU.M.37/41. 24 McCulloch based his analysis on records

in Madness and marginality
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Narrative, conspiracy, community
Douglas Morrey and Alison Smith

borrowing from Balzac) glimpsed through the character Renaud (Alain Libolt), there are a number of other groups and alternative communities dispersed across Out 1 . Most prominent are the experimental theatre troupes led by Thomas (Michael Lonsdale) and Lili (Michèle Moretti), two members of the Thirteen, whose exercises and rehearsals take up much of the screen time of Out 1 , particularly during its

in Jacques Rivette