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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.

Film, photography and the former coalfields
Katy Bennett and Richard Lee

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
Robert Fish

times, seeks out a fantasy of the small town and the folk as a retreat from such forces’. Not surprisingly, the relational production of rural and urban identities again features within many of these amateur narratives. Cinematic countrysides closes with a contemporary rendering of alternative imagery. In their account of the Amber Film and Photography Collective in the north east of England, Katy Bennett and Richard Lee

in Cinematic countrysides