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Les Histoires d’amour finissent mal en général and Souviens-toi de moi
Carrie Tarr

discussed in chapter 4 ) but also of comedies involving ethnic difference and films by a new generation of filmmakers which take for granted a multi-ethnic social background. However, even after two decades of settlement in France of the families of immigrants from the Maghreb, there were relatively few representations of young beur women. The majority of these films figure an ethnic minority presence primarily through black or beur males or black females, as

in Reframing difference
Carrie Tarr

/Inner City , 5 Raï La Haine mobilises a trio of young men from different ethnic backgrounds – Jewish, black and beur – and insists on their common bonding within a hybrid oppositional youth culture, based on the language of the banlieue , music, drugs, petty crime, unemployment, hatred of the police and social exclusion, in a world where white, black and beur youths are all victims of police violence. The film follows the trajectory of the

in Reframing difference
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Youth, pop and the rise of Madchester
Author: Steve Redhead

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

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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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The making of Medem
Rob Stone

This chapter presents an account of Julio Medem's early years and a background of his family, lineage and ethnicity. It also throws light on what made Medem politically aware and inclined him towards films. Medem's initial attempts at making films were from his own household. His educational training was in anatomy, but he never practised medicine. 1983 to 1985 are described as Medem's film buff years, when he found out that he really liked the auteurist cinema. 1984 was when he enrolled himself for a course in professional video. Medem collaborated on the script, direction and editing of José María Tuduri's Crónica de la segunda guerra carlista, which prepared him for his narrative, Vacas. In 1989, he won a commission to write, direct and edit a short feature, El diario vasco. Eventually, Medem set the bar high for a ‘New Basque Cinema’.

in Julio Medem
Carrie Tarr

backgrounds, in this case black-blanc-métisse . But whereas La Haine , despite its exhilarating style, is primarily a pessimistic, realist film, Métisse is a light-hearted comedy with a happy ending. Superficially, then, these two films, made only two years apart, appear to offer diametrically opposed constructions of France as a multicultural, multi-ethnic society, Métisse promising hybridity and racial harmony, La Haine beginning and ending

in Reframing difference
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Philip Hammond

-emerge here in describing the military leader of one side. While the war as a whole was rarely explained in terms of primitive ‘ethnic hatreds’ in our samples of coverage, the military actions of the Serbs were explained in terminology which does evoke this idea. It is also notable that many descriptions are highly personalised: the accent is less on his politics than on his character, psychology, background

in Framing post-Cold War conflicts
Marie-Line and Chaos
Carrie Tarr

fairy-tale narrative structure of her earlier comedies, ‘bringing together two people from different and potentially antagonistic class and ethnic backgrounds and producing social awareness, humour and romance’ (Tarr with Rollet 2001 :181). Unlike any of her other feature films, however, the romance of Chaos lies in the relationship between two women, making this her most openly feminist feature film to date. However, the film raises a number of problems in

in Reframing difference
Darrell M. Newton

others’, and admitted that not enough had been done to reflect the changing culture of Britain. These men and a few women all promised to stop endless meetings and to ‘take action to promote talent from ethnic minority backgrounds’. The project’s first chairman was Carlton TV’s chief executive Clive Jones. Jones reminded broadcasters that they would ‘lose even more viewers’ if changes did not occur. Britain was rapidly facing a change in demographics, described by Jones as a revolution, which clearly signalled a need for rapid change. ‘Either [they] adapt’, stated

in Paving the empire road