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Editor: Paul Newland

British Rural Landscapes on Film offers wide-ranging critical insights into ways in which rural areas in Britain have been represented on film, from the silent era, through both world wars, and on into the contemporary period. The contributors to the book demonstrate that the countryside in Britain has provided a range of rich and dense spaces into which aspects of contested cultural identities have been projected. The essays in the book show how far British rural landscapes have performed key roles in a range of film genres including heritage, but also horror, art cinema, and children’s films. Films explored include Tawny Pipit (1944), A Canterbury Tale (1944), The Go-Between (1970), Blood on Satan’s Claw (1971), Another Time, Another Place (1983), On the Black Hill (1987), Wuthering Heights (2011), Jane Eyre (2011), and the Harry Potter and Nanny McPhee films. The book also includes new interviews with the filmmakers Gideon Koppel and Patrick Keiller. By focusing solely on rural landscapes, and often drawing on critical insight from art history and cultural geography, this book aims to transform our understanding of British cinema.

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Horror cinema and traumatic events

events, to apportion blame, to extract retribution and to atone. Thus horror cinema can be seen to fulfil a function that sets it apart from other more ‘respectable’ branches of the culture industry: providing a visceral and frequently non-linguistic lexicon in which the experience of cultural dislocation may be phrased; in which the dominant will to repudiate post-traumatic self-examination through culturally sanctioned silence may be audibly challenged. Within a traumatised culture in which hegemonic conceptions of national identity are loudly contested by dissenting

in The wounds of nations
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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This book considers Marcel Carne's films within the broader social and political context. It reinvestigates Carné's highly contested position within French film history, and in particular how his films relate to major moments of French cinema such as poetic realism, the tradition of quality and the French new wave. The period from the late 1920s to the end of the 1930s was crucial in Marcel Carné's career: he entered the French film industry, made films now considered his masterpieces, and achieved significant box-office success. The book reflects on the main developments in his career, from his early work as a journalist, amateur filmmaker, and assistant director, to his production of his first feature films, Jenny and Drôle de drame. It also discusses his contributions to poetic realism at the end of the decade, Le Quai des brumes, Hôtel du Nord, and Le Jour se lève. The book also re-examines how Carné fitted into both popular and artistic French cinematic traditions, and his identity as a 'populist filmmaker', an area that has not received sufficient analysis. Redressing the neglect of Carné's postwar work, it highlights its value in bringing about greater understanding of Carné's cinema per se, but also its relationship with broader social, political and cinematic contexts. The book also focuses on charting the main developments that led towards the production of these films, and explains what was specific to Carné's own particular inflection of poetic realist cinema.

and contest conventional narratives of British history and identity. While the monuments and rituals surrounding the pagan landscape have been routinely coded up as evil and morally repugnant, their transgressive appeal has not been lost on the counter-cultural movement. This body of work therefore functions as a ‘literal and metaphoric terrain for conjuring up buried histories, identities and narratives that have been, or

in Cinematic countrysides

-structuralist theories that advocate the deconstruction of the subject have focused on how individual and collective subjectivities are thought, represented and contested in cultural practices, including film, thereby exploring how structures of power, which are reiterated, reinforced or subverted in cultural productions, impinge on the subject. In Lacanian psychoanalysis, which has been deeply influential in psychoanalytic film criticism and

in Hispanic and Lusophone women filmmakers
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Traumatic events and international horror cinema

speaking, this is a theoretical caucus that attempts to articulate and critique the diverse ways in which traumatic memories have been inscribed as wounds on the cultural, social, psychic and political life of those who have experienced them, and those cultural products that seek to represent such experiences to those who have not. Such articulation and critique is intimately concerned with the ways in which ideas of integrated and cohesive identity may be violently challenged by traumatic events such as genocide, war, social marginalisation or persecution, being part of

in The wounds of nations
(Auto)biography in Sandra Kogut’s Um Passaporte Húngaro (2001) and Albertina Carri’s Los rubios (2003)

understanding of the father figure, an idealistic assumption based on traditional notions of the family unit. While neither film dwells on the gender implications of contesting received history and the regulation of memory and identity, the films contribute to destabilising patriarchal and hegemonic interpretations of the past and identity, highlighting the interrelated nature of private and public spheres. As

in Hispanic and Lusophone women filmmakers
Contested borders and blurred boundaries in On the Black Hill

Anthony D. Smith claim that, ‘Whatever else it may be, nationalism is a struggle for control of land; whatever else the nation may be, it is nothing if not a mode of constructing and interpreting social space.’11 The ideology of nationalism transforms land into national territory. Far from producing a static and fixed space, this is a dynamic process in which images are perpetually constructed and contested. Particular features of the landscape may become emblematic of national identity, achieving, as Stephen Daniels has put it, ‘the status of national icons’.12 These

in British rural landscapes on film

conflicts, whether sanctioned by states or not, that take place at a local, national or global level, such as wars, terrorist attacks, genocides or any other acts that violate human rights or that represent a crime against humanity. Thus, if culture is ideologically shaped and contested, constructed and deconstructed, the interconnection between culture and conflict is always made manifest at a macro-political and at a micro

in Hispanic and Lusophone women filmmakers