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Memory and identity in Marie Redonnet’s fiction of the 1990s

, or, at the very least, of elaborating a fuller, more cohesive and enduring sense of self than that which originally exists. This, as will be seen, is because of its ability to preserve, and even to produce memory. Memory and identity in Redonnet’s fiction  The range and diversity of creative acts carried out by the characters is, at times, bewildering, but certain forms crop up again and again. In Candy story and Villa Rosa, (self-)portraiture is a common pursuit, whilst photography, and its correlative of film-making, feature in the texts Rose Mélie Rose, Candy

in Women’s writing in contemporary France

Introduction In television and film it is very common for institutional constraints and working practices to remove control over production decisions from the author and for directorial decisions to be influenced by the demands of the broadcasting institution and, in particular, its perception of the desires and competencies of the audience. But on the other hand, the cultural authority of the mass media of radio and then television as cultural forms were bolstered by employing established literary figures as

in Beckett on screen
Gender adaptations in modern war films

combat were often psychologically interesting; yet none was as influential in symbolising transcendent white masculinity. This value system is expressed principally in Dwan’s film through linking the patriotic duty of safeguarding the Stars and Stripes to specific codes of male behaviour. The grainy black- and-white photography, as well as the film’s squad format of Greek, Italian and Mexican boys under

in Gender and warfare in the twentieth century
Abstract only

(1967: 15) dismissed the critics who had regarded Keaton’s face as a comic trick: ‘They felt obliged to reduce his opaque mask to something they themselves could understand, and not accept it for the disquieting thing it was: a face turned in upon itself, concentrating upon itself with a prolonged and unbearable determination.’ This notion of the comic mask as a surface which points to a concealed depth is remarkably similar to the questions which Film poses. The transparency or concealment of identity entailed in the media of film and photography are part of its

in Beckett on screen
Futurist cinema as metamedium

‘aeropoetry’; prose and drama; synthetic, variety and total theatre; dance; photography and film; advertising and mass communication (Crispolti 1986). Giacomo Balla and Fortunato Depero’s project was thus conceived on a global scale, involving a range of disciplines, united by a desire to create a total reality. In contrast to Adamowicz and Storchi, Back to the Furutists.indd 274 01/11/2013 10:58:55 Rethinking interdisciplinarity 275 the fin de siècle’s resistance to change, Futurists assumed their important historic role of trying to unveil the future of a new era

in Back to the Futurists

revealed towards the end of the film that it is the envelope of photographs that O has been hiding under his coat all the way through the film. Photographs have always since their invention had the status of an evidence of the past, a truthful record of being in the world. They entail the mechanical remembering of lived identity for the transcendent individual, and photography therefore becomes a support and guarantee for subjectivity. An early Kodak advertisement proclaimed: ‘A collection of these pictures may be made to furnish a pictorial history of life as it is

in Beckett on screen

photography (of tea cups, jars, glasses, pots, cans, and equally copious images of books) and add another dimension to her character –​and Tumblr, the latter filled with posts containing film references, reassuring statements and handwritten wisdoms (e.g., ‘I love Places that Make you Realize how tiny you and your Problems are’, or ‘To judge a man by his weakest link or deed is like judging the power of the ocean by one wave’).2 Viewers can also consult the programme’s Facebook page, where they can interact with the series’ creators (out of character) and learn about the

in Charlotte Brontë

sometimes dream that one of the locked doors opens and I step over the threshold into a friendlier, less alien world’ (2001b: 65; 2001c: 61)). Sebald’s photographs are like so many closed doors in the text, which, like the doors in Terezín/ Theresienstadt, ‘den Zugang versperrten zu einem nie noch durchdrungenen Dunkel’ (‘obstruct[ed] access to a darkness never yet penetrated’ (2001b: 276; 2001c: 268)) (Figure 11.2). But about this general perception of photography, two things should be said. First, if photographs block us off from the darkness, if they are 203 9

in A literature of restitution

and direct Lulu on the Bridge. Despite the film receiving bad reviews (leading to abandonment by its distributors), Auster gained a good deal of support and encouragement from the collaborative process of its production, and formed a particularly close working relationship with the director of photography, Alik Sakharov. In an indication of how these artistic understandings can develop, Auster told Rebecca Prime: We worked for weeks, just the two of us. . . . That was the foundation of the film. . . . Not only did we develop a plan that we both believed in, but The

in Paul Auster
W. G. Sebald and contemporary performance practices

) This chapter traces modes of association between W. G. Sebald’s writing and particular tropes of contemporary performance making. Sebald’s engagement with visual art, especially photography, has been well explored over the decade since 2003,1 but little has been articulated around possible synergies between his writing and selected practices within the territory of contemporary theatre. Whilst Sebald edited a collection of papers entitled A Radical Stage: Theatre in Germany in the 1970s and 1980s (1988), theatre, in any explicit sense, hardly features in his fictions

in A literature of restitution