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Activist photography, self-reflection and antinomies
Antigoni Memou

4 The student movement of May 1968: activist photography, self-reflection and antinomies M a y 1 9 6 8 in Paris conjures up black-and-white photographs of students demonstrating, occupying universities, constructing barricades; setting fires on street corners, throwing flaming Molotov cocktails and fighting with the police. During the events, all these photographs became available to the public through the mainstream press and the communication systems that served the movement. Nevertheless, as the events accelerated the public showed a growing mistrust towards

in Photography and social movements
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Author: Bill Marshall

This is a full-length monograph about one of France's most important contemporary filmmakers, perhaps best known in the English-speaking world for his award-winning Les Roseaux sauvages/Wild Reeds of 1994. It locates André Téchiné within historical and cultural contexts that include the Algerian War, May 1968 and contemporary globalisation, and the influence of Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner and the cinematic French New Wave. The originality of his sixteen feature films lies in his subtle exploration of sexuality and national identity as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture and the centre–periphery relationship between Paris, especially his native southwest and the rest of France. The book also looks at the collaborative nature of Téchiné's filmmaking, including his work with Catherine Deneuve, who has made more films with him than with any other director, and the role of Philippe Sarde's musical scores.

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Queer Feminist Film Curation and the Freedom to Revolt
So Mayer and Selina Robertson

During summer 2018, Club Des Femmes (CDF), in collaboration with the Independent Cinema Office funded by the British Film Institute (BFI), curated a UK-wide touring season of films considering the aftermath of May 1968. ‘Revolt, She Said: Women and Film after ’68’ comprised nine feature films and eight accompanying shorts, exploring the legacy of 1968 on contemporary feminisms, art and activism transnationally. In this article, two members of CDF unpack the queer feminist ethics and affects of the tour, through the voices of multiple participants, and framed conceptually by Sara Ahmed’s ‘willful feminist’ and Donna Haraway’s ‘staying with the trouble’.

Film Studies
From the globalisation of the movement (1968) to the movement against globalisation (2001)
Author: Antigoni Memou

Throughout its brief history, photography has had a close relationship to social movements. From the Commune of Paris in 1871, the first political uprising to be captured by camera, to the 1990s anti-globalisation movement, the photographic medium has played a crucial role in political struggles. The book reflects critically on the theory of photography and the social movements themselves. It draws on a range of humanities disciplines, including photography theory and history, social movement theory, political theory, cultural history, visual culture, media studies and the history and theory of art. The book takes as a starting point 1968 - a year that witnessed an explosion of social movements worldwide and has been interpreted as a turning point for political practice and theory. The finishing point is 2001 - a signpost for international politics due to September 11 and a significant year for the movement because of the large-scale anti-capitalist protests in Genoa. Within these chronological limits, the book focuses on a selection of distinctive instances in which the photographic medium intersects with the political struggle. The three case studies are not the only pertinent examples, by any means, but they are important ones, not only historically and politically, but also iconographically. They are the student and worker uprising in France in May 1968 and two moments of the contemporary anti-capitalist movement, the indigenous Zapatista movement in Mexico and the anti-capitalist protests in Genoa in 2001.

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Carrie Tarr

suis lancée encore une fois toute seule et j’ai écrit la suite: ce qui arrive aux filles de 18 et 20 ans. Et puis, il me paraissait urgent de raconter la période de 68 parce qu’en 78 il y a eu une sorte d’enterrement en grande pompe de Mai 68’ 1 (Lejeune 1987 :159). The choice of May 1968 as a setting provided the opportunity for investigating yet again the links between a particular historical moment and personal

in Diane Kurys
Antigoni Memou

meeting at Charlety stadium. 27 May 1968. (© Magnum Photos) 124 May ’68 in the museum 24 Bruno Barbey, France. Paris. May 68. France. Paris. Champs Elysees. During the pro-Gaullist demonstration, a girl is seen holding the last edition of the newspaper France-Soir. The headlines in bold letters read: ‘I stay.’ ‘I keep Pompidou.’ 30 May 1968. (© Magnum Photos) May were to live on as an image in this commemoration, it seems it would be in the image of the individual, the leader or the amorphous crowd. If May were to be reduced to an image, this would be the photograph

in Photography and social movements
Catherine Spencer

Schneemann’s decision to let the curtain fall on her Kinetic Theatre in 1970 marks one end of the Happening. This chapter begins with another point of dispersal. For Jean-Jacques Lebel, one of the most visible European practitioners to experiment with the Happening, the protests, strikes and occupations by students and workers that disrupted France during May 1968 proved the ultimate fruition of the energies pursued in his performances. 1 As such, the May 1968 phenomenon rendered the Happening obsolete. 2 Yet the impact of the Happening’s imbrication with the

in Beyond the Happening
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Antigoni Memou

in May 1968 and two moments of the contemporary anti-capitalist movement, the indigenous Zapatista movement in Mexico and the anti-capitalist protests in Genoa in 2001. The movement becomes global: from 1968 to 2001 The resurgence of a global movement against neoliberal globalisation in the late 1990s resonated with the global movement of 1968.14 While these two movements appeared and evolved in different historical and spatial contexts and had particular and distinct political agendas, they shared ideological affinities, common ideas, strategies and tactics. Long

in Photography and social movements
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Street and theatre at the end of Fordism
David Calder

. Therefore this chapter brings together street theatre historiography and performance analysis. In doing so, it shows how street theatre’s engagement with real and imagined pasts shapes persistent assumptions about its political efficacy and its relationship to theatre in purpose-built spaces. French street theatre’s origin stories trace the form to the protests of May 1968 or link it to a premodern carnivalesque; in both cases, street theatre is supposed to transcend the atomization of bodies in space and time by eliminating the distinction between performer and spectator

in Street theatre and the production of postindustrial space
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Alison Smith

Representations on the screen of the May events themselves were a much rarer occurrence than might have been expected; although passing mentions were frequent as explanations for the behaviour of characters or the origin of certain situations, rare are the films to which May 1968 was explicitly central. In the early years of the 1970s, although a preoccupation for many, they were a subject only for films on the borders of the mainstream and the underground (Godard’s Un film comme les autres or Hanoun’s L’Eté , both

in French cinema in the 1970s