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Editor: Robert Fish

Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.

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Cinema, documentary, and the visual arts

Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.

collaborated with him at various times, namely: Lucebert (poetry and painting); Remco Campert and Bert Schierbeek (poetry); Van der Elsken (film and photography); and Willem Breuker (music). As this reference to Breuker and Van der Elsken suggests, jazz­– e­ specially, free jazz­– s­ haped Van der Keuken’s artistic development. His Big Ben­/Ben Webster in Europe (1967, b&w, 31 min.), for example, was one of his own favourite films, and he (with his wife, the filmmaker and sound editor, Noshka van der Lely) often created soundtracks comprising a distinctive admixture of

in Regarding the real
Parameters of Jewish identity

cemeteries and daubing of graffiti on tombstones (Friedlander 1995). The situation by 1990 was seen as so concerning that, after swastikas were drawn on thirty-four graves in a Jewish cemetery in Carpentras in May that year (and one corpse was exhumed and impaled), all five French national terrestrial television channels simultaneously screened Alain Resnais’ landmark film on the Holocaust, Nuit et brouillard (1956) in an attempt to stem the tide of anti-Semitism (Fysh and Wolfreys 2003: 68). The 1990s saw France begin to come to terms more profoundly with its role in the

in Representing ethnicity in contemporary French visual culture
Film, photography and the former coalfields

its regeneration programme. Looking on with a mixture of horror, terror, understanding and pride are his son and grandson. Unlike other parts of the film, the concluding scene is not based on the actual experiences of the local residents involved in its production. When asked about its ending of Like Father , the Amber Film and Photography Collective said

in Cinematic countrysides

qui peut pornography and cinema are brought together again, via a narrative which concerns the inter-relations between Denise (Nathalie Baye), her lover Paul (Jacques Dutronc) and Isabelle, a prostitute (Isabelle Huppert). It is primarily through the stunning use of stop-motion photography that Godard investigates the desires and ordeals of these three characters. (The film’s Anglophone title is Slow Motion .) Affectionate

in Contemporary French cinema

another. Films had to look good, and the establishment of mood through fine photography and lighting was essential to the visual pleasure that was part of movie-going. But audiences were much more interested in the stories, the characters, and the stars than in the subtleties of framing, editing and scene dissection, and the truth is that those aspects of filmmaking passed wholly unnoticed. They were invisible

in Film editing: history, theory and practice
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Rural settings, national identity and British silent cinema

critical debate.2 These reflections will touch on the role of landscape in articulating national identity and on the centrality of the concept of the picturesque in the film culture of the period. It will also become clear that, in contemporary critical debate, picturesque Englishness is very often seen as synonymous with high-​quality photography. It is also worth remarking that 1895 saw not only the first public performances of films but also the foundation of that key British institution, the National Trust, known at the time as the National Trust for Places of

in British rural landscapes on film
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As we have seen in previous chapters, Méliès’s films transported viewers to other worlds; only some of his films, however, actually emphasized the process of getting there. If movement was the feature of film that set it apart from photography and painting, then it was also the key factor in the development of the tourism industry, and in the transportation revolution inaugurated by the invention of

in Georges Méliès
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the Second World War to paint and study fine art at the Sorbonne (under the occasional tutelage of Fernand Léger). It was his photography, however, that initially earned him an artistic reputation, and a living; his distinctive fashion and street photographs from the 1950s and 1960s still exude an edgy, intrusive aesthetic that combines formal iconoclasm with social criticism. A steely executioner when it comes to taking a photograph, Klein is more the wily interrogator when making a film, where his documentary method has generally tended towards a more cursory

in Regarding the real