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Rupture and transmission

, 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

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

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

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
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Games and play

. In Out 1 , however, all the connotations of jeu , without exception, do seem to come together for the first time. In its original conception, the film had scarcely any preconceived limits; the narrative thread was of the thinnest, and largely imported by the different actors, some (Michel Lonsdale, Michèle Moretti) to continue work already begun in other contexts. Some came with a character prepared, some (Jean

in Jacques Rivette
Bodies, love and jealousy

to anyone else – about what is really going on in his life, incapable even, as Michèle (Michèle Moretti) remarks, of externalising his feelings in the play. His mute impotence is most memorably demonstrated in the scene in which, as Claire suggests they need to spend some time apart, Sébastien takes a razor blade and begins slicing and slashing at his clothes. The extraordinary, hyperrealist soundtrack of L’Amour fou

in Jacques Rivette
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1994–5: 859–60. 78 Burigozzo 1842, p. 524; Gamba 1956, pp. 241–2. 79 Vitale 1970: 273–4; Canons and Decrees ed. Schroeder 1941, pp. 228–9, 496. 80 S. Cohen 1992, pp. 88–9. 81 Schutte 2010: 400–3. 82 Gamba 1956, p. 249. 83 Gamba 1956, p. 254; Vitale 1970: 287–8. 84 Vitale 1970: 273–91. 85 Canosa and Colonnello 1989, p. 119. 86 Borromeo 1756, pp. 52–4. 87 McGough 2011, p. 117. 88 Intra 1893: 103–7; Tassini ed. Moretti 1964, p. 184; Laven 2004, pp. 161–5, 236, n. 11. 105 P e n i t e n t si n n e r s 105 89 Mazzi 1991, p. 398; S. Cohen 1992, pp. 61–2, 64

in Tolerance, Regulation and Rescue

1989, p. 135, n. 8. 60 Galanti 1786–90, II, pp. 29–30; cf. De Spirito 1978: 40–1. 61 Pavan 1980:  250–5; Ruggiero 1993, pp.  48–9; Chojnacka 2001, pp.  23–4, 54; Scarabello 2004: 30–2. 62 Scarabello 2004: 91–2, 100. 63 Canosa 1993, pp.  227–9; also Gozzi ed. Zardi 1915, p.  414 and Tassini ed. Moretti 1964, pp. 136–8. 64 Brackett 1993: 299–300. 65 Ferrante in Ciammitti et al. 1980, pp. 455–8; Ferrante 1985, pp. 7, 12, 16; Canosa and Colonnello 1989, pp. 79–87, 90. 66 Canosa and Colonnello 1989, pp. 78–9. 67 Dall’Olio 1999: 153–204. 68 Ferrante in Ciammitti et

in Tolerance, Regulation and Rescue

–1914 (Cambridge: Cambridge University Press, 1989), pp. 1–49, 171–9; J. Rose, The Intellectual Life of the British Working Classes (New Haven: Yale University Press, 2002), pp. 93–106. L. J. Ellicott, Historical Lectures on the Life of our Lord [Hulsean Lectures 1859] (London: Longman, Green, Longman, Roberts and Green, 1865), p. 42. Franco Moretti, The Way of the World: The Bildungsroman in European Culture (London: Verso, 1987). Strauss, Life of Jesus, pp. 777–81. A. Schweitzer, The Quest of the Historical Jesus [1906] (London: Adam and Charles Black, 1948), p. 96. Daniel L

in Resisting history
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Gilgamesh and the resublimation of deep time

. See Cohn, Noah’s Flood, pp. 7–9. Moreover, originary narrative was not exclusively Western/Christian, being part of the traditions in Judaism and Islam; the significance lies in the West’s relationship with originary narrative. See my discussion in chapter four, and also Moretti, Way of the World. Frederick Denison Maurice, Theological Essays (Cambridge: Macmillan, 1853); Temple, Williams, et al., Essays and Reviews; John William, The Pentateuch and Book of Joshua: Critically Examined (London: Longman, Roberts & Green, 1863). Jabez Bunting Dimbleby, The Date of

in Discovering Gilgamesh