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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.

Mel Bunce

and deprivation that might prompt humanitarian action ( ibid .: 52). For a photo or video footage to ‘work’, however, the audience must trust its creator. As Roland Barthes argued, the reality of photographs, and their guarantee of authenticity, does not rest in the photographs themselves: ‘it is lent by editors and later by viewers who accept the claims made by texts that they are proof of “what-has-been”’ ( Barthes, 1977 : 44). The proposed contract between an event and its truthful representation was hard enough to sustain in the

Journal of Humanitarian Affairs
Open Access (free)
Paul Henley

In Works and Lives , his well-known study of the anthropologist as the author of texts, Clifford Geertz draws upon a concept of authorship that was originally formulated by Roland Barthes. This is based upon a distinction between those who not merely write, but who in writing establish a distinctive model for doing so, and those who come later and write within the model established by the former. Barthes reserved the term ‘author’ to the originators of models of writing, distinguishing them from the mere ‘writers’ who

in Beyond observation
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Douglas Morrey and Alison Smith

explorations of the meaning of the film medium: Chapter 1 has revealed the extent of his engagement with the ethics of cinema’s aesthetic and the demands he made of the films he saw and, later, of himself as filmmaker. His career has also been characterised by a more general intellectual curiosity which led him to seek out Roland Barthes, Claude Lévi-Strauss and Pierre Boulez to interview them for Cahiers

in Jacques Rivette
A methodological induction
Yves Peyré

When Roland Barthes compared a literary text to ‘pâte feuilletée’ 1 – pastry that puffs up into myriads of light, flaky, crisp layers, with multiple bubbles in the baked dough – he was not only reasserting what he called elsewhere ‘la jouissance du texte’ (the blissful experience of the text), 2 he was also defining the literary text as consisting of multiple layers

in Interweaving myths in Shakespeare and his contemporaries
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Harun Farocki and the operational image
Volker Pantenburg

  will trace some of the origins and implications of this type of image (or non-​image), as it has come to be explored in Farocki’s texts and installations. To do so, I  will first revisit three concepts that have explicitly informed Farocki’s notion of the operational image: Roland Barthes’s ‘operational language’, Vilém Flusser’s ‘techno-​images’ and conceptualisations of a computer-​aided ‘Bildwissenschaft’. In a second step, I will hint at some specific strategies of dealing with operational images that are prominently featured in Farocki’s work. Given the

in Image operations
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Peter Barry

Structuralist chickens and liberal humanist eggs Structuralism is an intellectual movement which began in France in the 1950s and is first seen in the work of the anthropologist Claude Lévi-Strauss (1908–2009) and the literary critic Roland Barthes (1915–80). It is difficult to boil structuralism down to a single ‘bottom-line’ proposition, but if forced to do so I would say that its essence is the belief that things cannot be understood in isolation – they have to be seen in the context of the larger structures they are part of (hence the term ‘structuralism

in Beginning theory (fourth edition)
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Queer zen
Alpesh Kantilal Patel

, since the entire region is frequently associated or conflated with the religious practice. In the same way that Martin’s abstract yet embodied artworks prefigure theories of sexuality as queer or unstable, can the latter foreshadow contemporary theories of Asian American identity as transnational, or blurred across regions or nations? In my search for an answer to this query, I came across the writings of French philosopher Roland Barthes that use Zen to examine the works of Cy Twombly.38 Maybe it is more accurate to write that I was ‘cruising’ for information

in Productive failure
Peter Barry

certain that we can't know anything for certain, fully conscious of the irony and paradox which doing this entails. Tone and style  Structuralist writing tends towards abstraction and generalisation: it aims for a detached, ‘scientific coolness’ of tone. Given its derivation from linguistic science, this is what we would expect. An essay like Roland Barthes's 1966 piece ‘Introduction to the Structural Analysis of Narrative’ (reprinted in Image, Music, Text , ed. Stephen Heath, Fontana Press, new edn, 1993) is typical of this tone and treatment, with its discrete

in Beginning theory (fourth edition)
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Des O’Rawe

4 Eclectic dialectics We discover then that power is present in the most delicate mechanisms of social exchange: not only in the State, in classes, in groups, but even in fashion, public opinion, entertainment, sports, news, family and private relations, and even in the liberating impulses which attempt to counteract it. (Roland Barthes)1 As a documentary filmmaker, William Klein has been a ­prodigious­– ­if unpredictable­– ­figure, often drawn to sensitive social fault lines, and the indeterminate spaces that exist between conventional categories and

in Regarding the real