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London’s racial geography, 1960–80
Caspar Melville

, 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 as

in It’s a London thing
Dave Rolinson

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

in Alan Clarke
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The Secret Memoirs
Alan Rosenthal

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

in The documentary diaries
James Chapman

, 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

in Swashbucklers
Christopher Lloyd

(1984), Concepts in Film Theory, New York, Oxford University Press 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 archives 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

in Henri-Georges Clouzot
Sarah Cooper

–60 ; article orig. publ. in France-Observateur (1958), 30 October. Cacérès , Bénigno ( 1982 ), Les Deux Rivages: itinéraire d’un animateur d’éducation populaire , Paris , Actes et mémoires du peuple/François Maspero . Darke , Chris ( 2003 ), ‘ Eyesight ’, in Film Comment ( May–June ), pp. 48–50 . Dauman , Anatole ( 1989 ), Argos

in Chris Marker
Gandhi (1982), A Chorus Line (1985) and Cry Freedom (1987)
Sally Dux

. 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. Dux_Attenborough.indd 134 15/08/2013 10:25 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. 11 Ibid. 12 Fischer, The Life of

in Richard Attenborough
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

in Barry Hines
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Polisse and Entre les murs
Gemma King

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

in Decentring France
Elizabeth Ezra

memoir 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

in Georges Méliès