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Catherine Millet, Virginie Despentes
Victoria Best and Martin Crowley

promiscuous sexual activity. The stakes of aesthetic contact are here raised, as the work confronts readers with the question of the extent to which the individual whose intimate experiences we are following is the Catherine Millet whose name appears on its cover. Rather than salacious confession or self-seeking exhibitionism, the book has as a driving concern the question of the kinds of distance it is or is not possible to

in The new pornographies
James Zborowski

2 Distance, representation and criticism This chapter provides a link between the principal focus upon point of view in the previous chapter, and the principal focus upon communication in the chapter to follow. To treat artworks as comprising spectrums or axes of distance has been demonstrated, as we shall shortly see, to be a powerful way of conceptualising how point of view works within them. After a survey of a range of existing approaches to point of view and distance from within and beyond film studies, I explore the handling of point of view and distance

in Classical Hollywood cinema
Point of view and communication
Author: James Zborowski

This book explores the theoretical and critical concept of filmic point of view. Its case studies are six acclaimed and accomplished instances of ‘classical Hollywood cinema’: Mr. Deeds Goes to Town (Capra, 1936), Only Angels Have Wings (Hawks, 1939), Letter from an Unknown Woman (Ophuls, 1948), Vertigo (Hitchcock, 1958), Anatomy of a Murder (Preminger, 1959), and The Man Who Shot Liberty Valance (Ford, 1962). The book’s particular contributions to the study of filmic point of view are to use ‘communication’ as an idea which permits new ways of approaching this topic, and to offer detailed explorations of the filmic representation of character experience (including character ‘consciousness’ and interaction), and of the relationship of film to other media of communication (especially print media and the novel). With respect to character experience, it is argued that the often-held distinction between an inner realm of thought and feeling and an outer realm of behaviour and objects fails to do justice to the human experience of ‘being-in-the-world’ and film’s ability to represent it. With respect to film’s relationship to other media, it explores the traversing of the public, the private and the social that narrative fiction film represents, in a way that aligns the medium with the novel. The book is offered as a demonstration and defence of the value of a ‘conversational’ critical method that entails detailed scrutiny of our film-viewing experiences and of the language we use to describe those experiences, and eschews the construction of a taxonomy designed for general applicability.

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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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Sam Rohdie

(the present) belongs to or contrarily what is the here of the elsewhere. 72 Film modernism Belonging, for Godard, is not a line of connections but an overlapping and telescoping of associations such that relations over vast distances of space, time and context are brought together, for example, Mozart, Marivaux, Musset, Godard, Sarajevo, palaces, hovels, Switzerland, and in this bringing together something is released and both are saved. Godard, brings the far near and pushes the near to the far, Sarajevo in the Mozart of the eighteenth century and the Mozart

in Film modernism
Sylvie Magerstädt

introduction firmly grounds the mythical narrative that is to follow within a factual historical setting, making it appear initially more like a contemporary docudrama than ancient poem. The narrator also informs the viewer that the reasons for Troy’s destruction have probably nothing to do with Helen and the legendary account of her abduction. One could argue that this outline of historical findings somewhat undermines the story that follows and puts the audience at a critical distance. The camera then moves to the museum in Athens, showing us the death masks of the Greek

in TV antiquity
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An action-fuelled filmic decade?
Ben Lamb

. Euston’s aim was to incorporate the ‘wobbly scope’ techniques of documentary filmmaking into their drama (Alvarado and Stewart 1985 : 48). By distancing themselves from what they saw as producing episodes on a ‘factory basis’, where ‘directors had very little power and very little say in what was done’, producer Chris Burt felt ‘television oriented people’ provided their drama

in You’re nicked
Metrosexuality and The Murder of Stephen Lawrence
Geraldine Harris

, taking into account Flett’s criticism, Metrosexuality did apparently start as a ‘community’ film project (see ‘Pinktink’, 2001). This might explain a tendency in Metrosexuality towards over-representation. By this I mean that, in the first instance, its visual elements often operate to illustrate and underline the verbal text. This creates overstatement and refuses ‘distance’ from the material in a manner which limits the range of readings that might be produced from it. In the second instance, it operates a strategy of inclusive and ‘positive’ representation that

in Beyond representation
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Richard Hewett

conditions, all of which have taken television drama further than ever before from the production model of the live era. However, in the 2010s renewed interest in the spectacle of live television drama –​albeit primarily for ‘event’ episodes or productions –​has simultaneously indicated a continuing fascination with the performance processes of the past, from which modern television would otherwise seem to have distanced itself. Whether this can be taken as an indication that studio realist performance is poised for some form of renewal –​or is simply regarded as a welcome

in The changing spaces of television acting
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Modes of reading in Marxist-socialist and post-Marxist-socialist Television drama criticism
Geraldine Harris

? 17 states, it ‘displays its own conventionality’ and ‘explicitly lays bare its conditions of artifice’ (cited in Ahmed, 1998: 149). As with Brechtian alienation, these strategies are thought to produce ‘active readers’ and distance them from ‘any self-conscious identifications on the level of character and plot’ (Ahmed, 1998: 149). Ahmed argues that this model of reading assumes in advance that readers’ identifications are ‘dependent on a text repressing its own fictional status’, a theory not proven, for example, in the case of the reception of Brecht’s work

in Beyond representation