Michael Winterbottom is the most prolific and the most audacious of British filmmakers in the last twenty years. His television career began in the cutting-rooms at Thames Television, and his first directing experience was on the Thames TV documentaries, Ingmar Bergman: The Magic Lantern and Ingmar Bergman: The Director, made in 1988. Winterbottom has featured in top ten lists in Britain and his name has become a moniker of distinction in the promotion of his own films. This book articulates the ideas which have led to the name 'Michael Winterbottom' being associated with a particular body of work and, second, by turning to those factors which tend to dissipate the idea of Winterbottom as the single source of a world view and style, and to relocate his films within a constellation of directors, films and (principally European) national cinemas. It is important to acknowledge that all of his films employ realism across a variety of styles, genres and historical representations. The book focuses on Welcome to Sarajevo, Wonderland, In This World and The Road to Guantánamo, with a brief reference to 24 Hour Party People as five very different films that have particular relationships with the historical world that they represent. It considers what Winterbottom has done with such popular genres as the road movie, the musical and the sciencefiction thriller, how far he has adapted their conventions to contemporary film practice and ideology, and whether these films, in reworking Hollywood genres, exhibit any peculiarly British inflections.

Palestine– Israel in British universities
Author: Ruth Sheldon

For over four decades, events in Palestine-Israel have provoked raging conflicts between members of British universities, giving rise to controversies around free speech, ‘extremism’, antisemitism and Islamophobia within higher education, which have been widely reported in the media and subject to repeated interventions by politicians. But why is this conflict so significant for student activists living at such a geographical distance from the region itself? And what role do emotive, polarised communications around Palestine-Israel play in the life of British academic institutions committed to the ideal of free expression?

This book invites students, academics and members of the public who feel concerned with this issue to explore the sources of these visceral encounters on campus. Drawing on original ethnographic research with conflicting groups of activists, it explores what is at stake for students who are drawn into struggles around Palestine-Israel within changing university spaces facing pressures associated with neoliberalism and the ‘War on Terror’. It begins from this case study to argue that, in an increasingly globalised world that is shaped by entangled histories of the Nazi Holocaust and colonial violence, members of universities must develop creative and ethical ways of approaching questions of justice.

Tragic Encounters and Ordinary Ethics curates an ethnographic imagination in response to the political tensions arising out of the continuing violence in Palestine-Israel. It invites students and academics to attend to lived experiences within our own university institutions in order to cultivate ethical forms of communication in response to conflicts of justice.

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Guy Austin

’ (Yakir 1979 : 2). Chabrol has in fact filmed farce (Folies bourgeoises), melodrama (La Rupture), fantasy ( Alice ou la dernière fugue ) , war films ( La Ligne de démarcation, Une affaire de femmes), spy films (the Tigre series and La Route de Corinthe) and glossy literary adaptations (Quiet Days in Clichy, Madame Bovary). But the crime thriller is his usual choice of genre, because it allows him to engage the

in Claude Chabrol
Robert Giddings

at the bottom of the page (guillotine, tumbril, agitators, crowds, revolutionary caps); these were the very different ‘Two Cities’. A Tale of Two Cities certainly has its weaknesses, including the notorious Dickensian melodrama, sentimentality and theatricality of dialogue. It offers few well-drawn locations or striking characters. Apart from the obvious fear of public violence, it

in British cinema of the 1950s
Documentary form and audience response to Touching the Void
Thomas Austin

the ‘male melodrama’ of war films, thrillers and the action genre.9 As will become clear, the proposed mode of response based on imagining oneself in Simpson’s perilous situation was ultimately taken up by several respondents (of both genders) in the sample. Film form Issues of form are crucial to this inquiry, and, I would argue, should be so for any audience research that explores viewers’ uses of and responses to a specific text.10 In the case of Touching the Void, the film is an intriguing combination of interviews with Simpson, Yates and non-climber Richard

in Watching the world
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Christopher Lloyd

’s critique, by arguing that Clouzot’s command of detail validates his films as social documents. For instance, Clouzot’s version of the occupation and liberation in Manon seems far more wide-ranging, authentic and persuasive (precisely because its cynical bleakness captures the spirit of the time) than the romantic melodrama and simplistic heroism offered thirty years later in Truffaut’s Le Dernier Métro. But the documentary manner is also part of a strategy of illusion, 1 ‘A continuing concern for true details, the obstinate will to anchor his work in the most concrete

in Henri-Georges Clouzot
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J.S. Bratton

life, which was used in extraordinary ways to validate the new ideologies. Melodrama uses the idealisation of Old England as represented by the supposed virtues and joys of the rural community – pastoral innocence and fertility – to provide concrete images to embody the domestic ideology which the British Empire claimed to propagate across the world. The touchstone of home could be emotionally

in Acts of supremacy
Propaganda, social change and entertainment in Greek television fiction, 1967–74
Gregory Paschalidis

and proven in the popular media of radio and cinema. His Police Stories (Αστυνομικές ιστορίες), dis­tinguished by its unusual crime cases and multiple plot twists, had been one of the most popular radio series in the early 1960s. In the same decade, he wrote the screenplays for numerous films, mostly romantic and social melodramas, with many of them proving great box-office successes. After conquering radio and cinema, his involvement in the still nascent medium of television was certain to be noteworthy. For its director, Kostas Koutsomytis, the serial was his

in Popular television in authoritarian Europe
Open Access (free)
Thomas Dumm

case of specifying the meaning of moral perfectionism – of his own coinage. And “the melodrama of the unknown woman” – again, his coinage – is a cousin, at least, to your description of the tragedy of remarriage.) There is another thing going on here in your letter to Cavell that requires at least brief attention. You seem to see Rousseau’s letter to be friendship-ending, a public

in Cinema, democracy and perfectionism
Ménilmontant, Le Sang des bêtes, Colloque de chiens
Erik Bullot

cinema history. All three films transgress the genres on which they draw. Ménilmontant reconciles a relatively audacious and free avant-garde technique with the codes of melodrama; the style of Le Sang des bêtes – defined by Franju as ‘aesthetic realism’ – arises from an encounter between documentary and the fantastique; finally, the humorous, distanced mood of Colloque de chiens, drawing on romance magazines, is the result of the ‘laying bare of the device’ by which the Russian Formalists defined parody (Shklovskii 1993: 147–70). The filmmakers’ careers are just as

in Screening the Paris suburbs