Whose culture? Fanzines,
politics and agency
The impetus for starting a (punk) fanzine was often clear enough. Writing in
the first issue of Sniffin’ Glue (1976), Mark Perry bemoaned the weekly music
press’s failure to understand ‘this thing called “punk rock”’. ‘The weeklys [sic]
are so far away from the kids that they can’t possibly say anything of importance’,
he complained: ‘why don’t they stick to Queen and all that trash that drive
around in expensive cars’.1 For Tony Drayton, communicating from the edge
of Glasgow in November 1976, Ripped
The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.
Negotiating acceptable politics in the Dutch fanzine
Punks against censorship:
politics in the Dutch
Punk took root in The Netherlands in 1977, with scores of new bands forming
through 1978–80.1 As elsewhere, punk’s mix of spectacular imagery, nihilism
and/or radical politics, shock value and a do-it-yourself approach appealed
to young people.
Also in the late 1970s, the port city of Rotterdam was undergoing a process
of deindustrialisation and automation. It was still being rebuilt, both literally
and figuratively, following near-annihilation during the Second
Richard Attenborough has long been recognised as a significant figure in British cinema history and film culture. After his screen debut in the war-time film In Which We Serve, Attenborough's cinema career developed through acting and later through producing and directing to become one of the industry's most renowned figures. Concentrating on his work behind the camera, this book explores his initial role as a producer, including his partnerships with Bryan Forbes in Beaver Films and with Allied Film Makers. Attenborough's own belief and affection for the genre has arguably been responsible for establishing the biopic within the pantheon of recent British cinema. Thus Young Winston captures elements from the action and historical genres, Gandhi and Chaplin from the political and historical, and Cry Freedom the political and action film. Shadowlands combines the heritage, historical and romance, In Love and War the historical, romance and war and Grey Owl the historical and nature/conservation film. A similar fusion of genres can be detected in Attenborough's two war films which both offer an anti-war revisionist perspective. Oh! What a Lovely War merges the historical and action genres, while A Bridge Too Far, in contrast, is a serious and vivid portrayal of war merging with the historical and action genres. Closing the Ring, although based on a true story, merges fiction and reality within a romantic setting.
This book considers Marcel Carne's films within the broader social and political context. It reinvestigates Carné's highly contested position within French film history, and in particular how his films relate to major moments of French cinema such as poetic realism, the tradition of quality and the French new wave. The period from the late 1920s to the end of the 1930s was crucial in Marcel Carné's career: he entered the French film industry, made films now considered his masterpieces, and achieved significant box-office success. The book reflects on the main developments in his career, from his early work as a journalist, amateur filmmaker, and assistant director, to his production of his first feature films, Jenny and Drôle de drame. It also discusses his contributions to poetic realism at the end of the decade, Le Quai des brumes, Hôtel du Nord, and Le Jour se lève. The book also re-examines how Carné fitted into both popular and artistic French cinematic traditions, and his identity as a 'populist filmmaker', an area that has not received sufficient analysis. Redressing the neglect of Carné's postwar work, it highlights its value in bringing about greater understanding of Carné's cinema per se, but also its relationship with broader social, political and cinematic contexts. The book also focuses on charting the main developments that led towards the production of these films, and explains what was specific to Carné's own particular inflection of poetic realist cinema.
Film in Korea has always been under governmental censorship. This book examines the ways in which Korean film reveals the ideological orientation of the society in which it is created and circulated. It examines the social and political milieu in which the Korean film industry developed from its beginning during the Japanese colonial period to its bifurcation into South and North Korean cinemas. The book presents a critical analysis of the selected films, which were all made between 1960 and 1990. It discusses the cultural identity of contemporary Koreans by analysing five films based on a popular traditional folk tale, Ch'unhyangjŏn. Three of the five films were made in South Korea: Shin Sangok's Song Ch'unhyang, Pak T'ae-wŏn's The Tale of Song Ch'unhyang and Han Sanghun's SongCh'unhyang. The significance of gender and class issues in Ch'unhyangjŏn can be glimpsed through the three variants of the film title. The book then examines the notion of nationhood held by contemporary Koreans from two interrelated perspectives, political and cultural. It explores the films in relation to the conflicting ideological orientations of North and South Korea. In the North Korean films, anti-imperialism constitutes the core of their definition of nationhood. Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. The book discusses six films in this context: The Untrodden Path, The Brigade Commander's Former Superior, Bellflower, A Nice Windy Day, Kuro Arirang and Black Republic.
While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. Bringing together a range of scholars that attend carefully to the performances, acting styles, and historical influences of Spanish film, Performance and Spanish Film is the first book to place the process of Spanish acting centre stage. Comprising fifteen original essays, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. It situates the development of Spanish screen acting in both its national and global contexts, tracing acting techniques that are largely indigenous to Spain, as well as unpicking the ways in which Spanish performance has frequently been shaped by international influences and forces. As the volume ultimately demonstrates, acting can serve as a powerful site of meaning through which broader questions around Spanish film practices, culture and society can be explored.
British art cinema: Creativity, experimentation and innovation brings together a selection of essays from both new and established scholars that engage with how far artistic creativity, entertainment and commerce have informed a conceptual British ‘arthouse’ cinema. The chapters show that rather than always sitting in the shadow of its European counterparts, for example, British cinema has often produced films and film-makers that explore intellectual ideas, and embrace experiment and innovation. The book examines the complex nature of state-funded and independent British filmmaking, the relationship between the modernist movement and British cinema, and the relationship between British cinema, Hollywood and US popular culture. The chapters cover the history of British cinema from the silent period to the 2010s. Film-makers explored in detail include Alfred Hitchcock, Michael Powell and Emeric Pressburger, Derek Jarman, Ken Russell, Horace Ové, Joseph Losey, John Krish, Humphrey Jennings, Nicolas Roeg, and lesser-known artists such as Enrico Cocozza and Sarah Turner. There are new essays on the British New Wave, the 1980s, poetic realism and social realism, the producer Don Boyd, the Black Audio Film Collective, films about Shakespeare, and the work of the Arts Council in the aftermath of World War Two.
We must admit, once and for all … that cinema, politically oppositional or not, is politics.
With Z (1969), Costa-Gavras created a nationalist response to the decade-long political abuses in Greece. Thematically, Z concerns conflicting tenets about left-wing and right-wing nationalism and their struggles for political dominance in Greece during the 1960s. The film also alludes to nationalistic upheavals and assassinations occurring in the contemporary Cold War world of the 1960s. Z , an adaptation of
This account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del círculo polar (Lovers of the Arctic Circle), Lucía y el sexo (Sex and Lucía), La pelota vasca: la piel contra la piedra (Basque Ball) and Caótica Ana (Chaotic Ana). Initial chapters explore Medem's childhood, adolescence and education, and examine his earliest short films and critical writings against a background of a dramatically changing Spain. Later chapters provide accounts of the genesis, production and release of Medem's challenging and sensual films, which feed into analyses of their meanings, both political and personal, in which the author draws on traditions and innovations in Basque art, Spanish cinema and European philosophy to create a portrait of the director and his work.