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Bill Marshall

5 Collaborations Les Temps qui changent (2004) Téchiné’s sixteenth and latest film, centred as it is on its two stars, is a useful point of departure for examining the collaborative nature of his work, and shows the extent to which an approach excessively centred on the director as auteur risks missing wider creative processes. The subject matter of Les Temps qui changent is echoed in its procedure. Antoine, a French engineer (Gérard Depardieu), travels to Tangiers to supervise the construction of buildings for a new television station in the ‘free zone’. His

in André Téchiné
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Les Misérables, La Rafle and Elle s’appelait Sarah

gendarmes, acting under the authority of their leaders, responded to the Nazis’ demands … Other massive roundups and arrests were to follow. In Paris and in the provinces. Sixty-four trains were to depart for Auschwitz. Seventy-six thousand Jews deported from France would never return. Our debt to them is inalienable.) Introduction: collaboration on screen The events of May 1968 and the discourse of the following decade had a significant impact on the manner in which

in Reframing remembrance
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Darren Freebury- Jones

and Richard II appear in the top three plays sharing large numbers of unique ‘maximal’ n -grams. Conversely, the remainder of the play shares more verbal commonalities with non-Shakespearian dramatists (Rizvi, 2017 ). Sharpe ‘feels it impossible to state dogmatically whether Edward III was written originally in collaboration or whether Shakespeare was revising or adding

in Shakespeare’s tutor
Revisiting collaboration in French crime fiction of the 1980s
Claire Gorrara

•  3  • Resurgent collaboration:  revisiting collaboration in French crime  fiction of the 1980s French collaboration with the occupier was one of a number of war stories that resurfaced sporadically in the immediate post-war decades in the  form of high-profile political and legal affairs.1 Such public airings served  to remind people of the reverberations of wartime choices, although collaboration was ever the the shadowy other of dominant resistance narratives  shadowy other of dominant resistance narratives of national heroism. Even into the 1970s and early

in French crime fiction and the Second World War
An ethnography in/of computational social science
Mette My Madsen
Anders Blok
, and
Morten Axel Pedersen

8 Transversal collaboration: an ethnography in/of computational social science Mette My Madsen, Anders Blok and Morten Axel Pedersen This chapter chronicles and reflects on the experiences of working ethnographically within, alongside and in collaboration with a largescale interdisciplinary experiment in so-called computational social science, one of the important transnational frontiers for the mobilisation of big social data in recent years. Starting in 2013, the three authors have taken part in the Social Fabric/Sensible DTU project, a large

in Ethnography for a data-saturated world
David MacDougall

observer and observed is complicated by several levels of consciousness? It is here that we must think about the effects of collaboration and its ambiguities. How should we interpret a film that has been made not by one person but, as is quite often the case, by many? Films come to us whole, as if predestined to be that way. That they are complex constructions, constantly worked over to reach their final form, should be no surprise. But most films strive to present themselves to us as sui generis , alive

in The art of the observer
Shohei Sato

’s length” distance’ with the Gulf States due to ‘(a) our historical association and role in their transition to nationhood’ and ‘(b) our continuing collaboration over national security matters and defence equipment’. 60 The second point to be made is that the American influence in the region steadily increased during the 1970s but was qualitatively different from that which Britain had exercised. Instead of

in Britain and the formation of the Gulf States
James S. Williams

. Marais’s role and status vis-á–vis Cocteau is certainly more significant than that of actor/model in the style, say, of Robert Bresson’s unknown ‘models’. Indeed, despite Marais’s disciplined, hardworking nature and his constant avowal that he owed everything to Cocteau, a father figure who had both formed and transformed him, there was always an underlying tension to their collaboration. In later interviews Marais explained

in Jean Cocteau
Political reality and religious principle, 1945–56
Lindsey Earner-Byrne

5 Cracks in the ‘cordial collaboration’: political reality and religious principle, 1945–56 The State does not exist to do for individuals and families … what they can do reasonably well themselves; the State should not supplant them when they can partly do things but should supplement their efforts; finally the State is there to do for them what they cannot at all do for themselves.1 The stringency of the Emergency period, the sustained atmosphere of deprivation throughout the 1940s and the British White Paper, A National Health Service (1944) stimulated

in Mother and child
Sarah Lonsdale

. 135 They were still helping and promoting each other in the pages of local and national newspapers in the 1960s and 1970s. By this time both women had faded from public view, and it appears that a number of the articles written by and about each other had at least in part the purpose of attempting to cement their reputations before their deaths, thus continuing six decades of professional collaboration. 136 During the interwar years, women’s status as public intellectuals and journalists was still highly contested and we have seen in this chapter how professional

in Rebel women between the wars