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Representations of Marseille
Joseph McGonagle

over one hundred underscores the ethnic diversity of Marseille’s population. It scarcely seems surprising, therefore, that Marseille continues to be portrayed as a Mediterranean melting-pot within France. It is often constructed as a uniquely hybrid and harmonious space too (Weill 2003: 6) and a common cliché allied to this image is the recurrent anecdote that, whenever asked where their affiliations lie, the city’s dwellers reply: ‘A Marseille, on est d’abord marseillais’ (Croissandeau 2001: 14) (In Marseille, we’re Marseillais first). Or even, to cite the lyrics of

in Representing ethnicity in contemporary French visual culture
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

in the early Transition years. At the time, certain nineteenth-century mythologies of the Mediterranean as the locus of sensuality were still very much in place and very prominent in Catalan cultures, and they are taken up by Pons and Mira in their filmic works. Such mythologies also, I would argue, made the Catalan perspective distinct from the Madrid-centred version of political change. These films of the 1978–82 period

in Spanish cinema 1973–2010
Abstract only
Alan Rosenthal

. Well, I want to get my films shown as much as anyone else, and a few years later, on the advice of a friend, applied as a pitching candidate to APIMED in Spain. Every year APIMED (The International Association of Independent Producers of the Mediterranean), a small film market in the seaside town of Sitges, near Barcelona, sends out an open call for film proposals for the MEDIMED documentary market. The submitted proposals, besides setting out the film idea, also have to include budget, producer’s background, details of funds already raised, and the names of any

in The documentary diaries
Alison Smith

film we are effectively invited to participate in the transformation of history into legend, a legend which – while manipulating historical accuracy – may itself become a historical agent with positive significance. L’Affiche rouge is a cinematic representation of the arrest and trial of the Groupe Manouchian, a detachment of Resistants composed mainly of immigrants from Eastern Europe and the Mediterranean. The arrests took place in 1944, and the Germans publicised the event in the hope of discrediting the Resistance by calling

in French cinema in the 1970s
Auteurism, politics, landscape and memory

This book is a collection of essays that offers a new lens through which to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The films analysed span a period of some 40 years that have been crucial in the development of Spain, Spanish democracy and Spanish cinema. The book offers a new lens to examine Spain's cinematic production following the decades of isolation imposed by the Franco regime. The figure of the auteur jostles for attention alongside other features of film, ranging from genre, intertexuality and ethics, to filmic language and aesthetics. At the heart of this project lies an examination of the ways in which established auteurs and younger generations of filmmakers have harnessed cinematic language towards a commentary on the nation-state and the politics of historical and cultural memory. The films discussed in the book encompass different genres, both popular and more select arthouse fare, and are made in different languages: English, Basque, Castilian, Catalan, and French. Regarded universally as a classic of Spanish arthouse cinema, El espíritu de la colmena/The Spirit of the Beehive has attracted a wealth of critical attention which has focused on political, historical, psychological and formal aspects of Víctor Erice's co-authored film-text. Luis Bunuel's Cet obscur objet du désir/That Obscure Object of Desire, Catalan filmmaker Ventura Pons' Ocana. Retrat Intermitent/Ocana. An Intermittent Portrait, Francisco Franco's El Dorado, Víctor Erice's El sol del membrillo/The Quince Tree Sun, and Julio Medem's Vacas/Cows are some films that are discussed.

Heather Norris Nicholson

family and friends in West London and Kent, and major holidays that introduce his wife and children to relatives and sites of personal significance in India, much of Kapur’s footage highlights his love of landscapes, architecture, gardens and visual delight in travelling to different places in Britain, the Mediterranean and elsewhere. Kapur’s imagery also contributes importantly to a more inclusive picture of regional life in

in Amateur film
Abstract only
Gemma King

migrant and multicultural peoples face in postcolonial French society. It is important to remember that, as Alec Hargreaves explains: The French language was implanted on the southern and eastern shores of the Mediterranean largely under the aegis of French colonial domination there. The more recent emergence within France of Arabic- and Tamazight-speaking minorities originating across the Mediterranean is in turn grounded in migratory flows largely consequent upon economic disparities and migratory opportunities regulated by the colonial system and its aftermath. (2009

in Decentring France
Gemma King

region. As Chapter 6 (‘Coastal borders’) explores, the far south-eastern border of the country is an equally multicultural and linguistically diverse space. Home to the cities of Marseilles, Sète and Nice, the Mediterranean is the first port of call for many migrant groups, particularly those travelling from North Africa across the Mediterranean Sea. As La Graine et le mulet shows, many migrants remain in these border spaces, separated from their home countries only by a few hundred kilometres of water. The region has historically provided a multitude of employment

in Decentring France
Alison Smith

a Mediterranean fishing community which also explores the contradictions of a relationship, made her a modest name as a young director at the fringes of Italian neo-realism (although she was totally ignorant of the movement at the time). A few years later La Pointe Courte was to be heralded as an early forebear of the Nouvelle Vague. Cléo de 5 à 7 , appearing in 1961 as the Nouvelle Vague reached its peak, followed a

in Agnès Varda
Abstract only
Welcome and La Graine et le mulet
Gemma King

, casting its gaze across the English Channel and thus unseating France and French from a monopolistic position of importance. In its foregrounding of Tunisian culture, Arabic language and mixed linguistic and familial communities, La Graine et le mulet renders a Mediterranean French city the site of a cross-cultural, Franco-Tunisian experiment which challenges the ideal of French cultural norms. Central to these coastal films are issues of border-crossing and the boundaries of the French nation, which serve to include and exclude characters, both physically, through

in Decentring France