the forms of solidarity developed among black children as protection
in a hostile environment could look intimidating, just as a group of
friends, or even acquaintances, from the same area can look, through
a racialised lens, like a gang. For some, especially middle-class children
with no competence in the masculine codes of street culture, the encounter with difference could be traumatic, as can be seen in Jean Paul
Flintoff ’s memoir about his time at Holland Park comprehensive, Comp:
A Survivor’s Tale (1998), in which he describes the black boys in his class
memoir of the play’s
production, John Willett (1998: 263–79) argued that, although Baal
lacked the ‘austere toughness’ of Clarke’s ‘starker and simpler’ and
more obviously Brechtian initial conception, the play achieved ‘Brecht’s
intended effects without affectation’. This was achieved not only
through ‘the “alienating” division of the episodes by the split-screen
presentation of titles’, but also by Clarke’s continued exploration of
formally theatrical composition. With little camera movement, ‘the
prevailing view would be of the set seen square-on right across the
us have the capacity to be an
Eichmann. At the time I was not able to accept her arguments. I had
Adolf Eichmann: The Secret Memoirs
to wait nearly forty years before the answers became clear to me as I
worked on the film Adolf Eichmann: The Secret Memoirs.
While awaiting the verdict of his trial, Eichmann wrote a self-serving
memoir that he entitled Graven Images. He had hoped it would favorably sway the judges’ opinions. The papers failed to help him and
the authorities, fearing the papers might provide encouragement for
Neo-Nazis, locked them away for forty
, The Red and the Blacklist: The Intimate Memoir of
a Hollywood Expatriate (New York, 2003), p. 260.
38 Neale, ‘Pseudonyms’, pp. 247–9. Neale finds evidence to indicate that
‘Eric Heath’, ‘Ian Larkin’, ‘John Dyson’, ‘Paul Symonds’, ‘Leighton
Reynolds’, ‘Oliver Skene’, ‘Neil R. Collins’ and ‘Robert B. West’
were all pseudonyms for either Ring Lardner Jr and/or Ian McLellan
Hunter. Waldo Salt and Robert Lees also both used ‘John Dyson’ and
‘Neil R. Collins’, and Salt used ‘Arthur Behr’, while ‘Leslie Poynton’
and ‘John Ridgley’ were both probably used by Adrian Scott
(1984), Concepts in Film Theory, New York, Oxford University
L’Avant-Scène Cinéma (1997), 463, June (script and reviews of Les Diaboliques)
Bardot, Brigitte (1996), Initiales B.B.: mémoires, Paris, Le Grand Livre du Mois
Baroncelli, Jacques de, ‘La Terreur des Batignolles’, script résumé, BIFI
Bertin-Maghit, Jean-Pierre (1984), ‘1945, l’épuration du cinéma français: mythe
ou réalité?’, in Marc Ferro, ed., Film et histoire, Paris, Editions de l’Ecole des
Hautes Etudes en Sciences Sociales, 131–42
Beylie, Claude (1991), ‘La Terreur des Batignolles sort de
Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987)
3 Hill, British Cinema in the 1980s, p. 33.
4 Ibid., p. 35.
5 Quoted in Louis Fischer, The Life of Mahatma Gandhi, London, 1997, p. 348.
gandhi, a chorus line, cry freedom 135
6 Quoted in William L. Shirer, Gandhi: A Memoir, London, 1982, n. p.
7 Production Notes, Gandhi, microfiche, BFI, London.
8 Kevin Brownlow, David Lean, London, 1996, p. 393.
9 Film World (India), 4:3 (Oct.–Dec. 1968), p. 51.
10 Richard Attenborough, In Search of Gandhi, London, 1982, p. 44.
12 Fischer, The Life of
Billy’s Last Stand, The Blinder, A Kestrel for a Knave and Kes
David Forrest and Sue Vice
, Working-Class Fiction: From Chartism to Trainspotting,
London: Routledge 1996, p. 111.
16 Jeffrey Hill, Sport and the Literary Imagination: Essays in History
Literature and Sport, Oxford: Peter Lang 2006, p. 58.
17 Barry Hines, The Blinder, London: Michael Joseph 1996. All page references in the text.
18 Lee McGowan, ‘Marking out the Pitch: A Historiography and
Taxonomy of Football Fiction’, Soccer and Society 16:1 2015,
pp. 76–97: 87.
19 In 2016, Hines’s brother published his own memoir, No Way But
Gentlenesse, which takes as its starting point Richard’s training of
the French school, but of the French capital (and indeed
of the Hexagon). Starring François Bégaudeau as the teacher François
Marin, Entre les murs is based on Bégaudeau’s 2006 memoir of his
own experiences teaching in a similar school. The narrative features a
mix of autobiographical moments from B
égaudeau’s career combined
with fictional scenes. The cast features only a handful of professional
actors, with the vast majority of characters played by actual Dolto
students, who participated in improvisation workshops with Cantet
and Bégaudeau in the year preceding
1900, Paul Morand waxes lyrical about the electricity fairy’s presence
at the 1900 Exposition universelle:
C’est alors que retentit un rire
étrange, crépitant, condensé: celui de la
Fée Electricité. Autant que la Morphine dans les
boudoirs de 1900, elle triomphe à l’Exposition; elle
naît du ciel, comme les vrais