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Derek Schilling

To establish the intertexts and artistic principles his films put into play, this chapter reviews the abundant critical writings Rohmer published in France from the late 1940s to the early 1960s. The film's mechanical, objective character, which Bazin first proposed in a landmark essay of 1945 on the 'ontology' of the photographic image, heralded in Rohmer's view a Copernican revolution, for it set cinema firmly apart from the other arts. The chapter aims to present and contextualise Rohmer's primary theoretical and critical insights. Yet Rohmer's writings warrant attention not simply as a pillar of high criticism within the local history of postwar French film comment. Despite the enthusiasm for Hollywood he shared with the Young Turks, Rohmer remains at base a Bazinian, for whom the cinema is inseparable from the belief in the camera's capacity for revealing the world in a manner unique among the arts.

in Eric Rohmer
Anne Young

Chris Baldick and Robert Mighall have argued rather convincingly that ‘Gothic Criticism’ is in need of an overhaul. I revisit their controversial article through an analysis of Oscar Wilde’s parody of the Gothic and of scholarship, ‘The Portrait of Mr W. H.’ In this tale of creative criticism, Wilde’s hero, Cyril Graham, invents the character of Willie Hughes to prove a theory about Shakespeare’s sonnets. Contrary to Baldick and Mighall, I argue that Gothic criticism might do well to take its cue from its object of study. Plunging deep into the abyss, abandoning pretentions of knowing fact from fiction, natural from supernatural, I whole-heartedly - momentarily - consider the ‘Willie Hughes theory’ and ‘I will take up the theory where Cyril Graham left it and I will prove to the world that he was right’.

Gothic Studies
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Cinema saved my life
Diana Holmes and Robert Ingram

genre codes, and to take box-office success as an important criterion of quality. The work done by Cahiers du cinéma in the 1950s was central to the development of film theory and criticism not only in France but also in the USA, Britain and the rest of Europe. Truffaut’s polemical attacks on the tradition de qualité and his championing of the work of Hollywood directors such as Alfred Hitchcock and

in François Truffaut
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga
Elleke Boehmer

’s sexuality, especially in so far as sexuality remains the dark secret of the Third World nation. Queer sexuality, in point of fact, probably still constitutes what could best be termed a virtual nonpresence, or at least a covert silencing, an ‘unsaying’, in postcolonial discourses generally and in African writing in particular.3 It is a surprising omission or occlusion considering that, since the 1960s, postcolonial theory and criticism have grown up in tandem with the emergence of a politics of identity and cultural difference, and are deeply informed by discourses of

in Stories of women
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Colin Gardner

and criticism and his own ideological self-evaluation as a class-conscious educator and his subsequent work as a film and theatre director? Firstly, it’s important to dispel any misconception that Reisz and his peers saw a clear-cut division between cinema as an intellectual and artistic ‘discipline’ as opposed to a commercial and industrial ‘craft’ or ‘business’. As Reisz explained to the London Times in 1960

in Karel Reisz
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Author: Susan Watkins

This study examines the writing career of the respected and prolific novelist Doris Lessing, who was awarded the Nobel Prize for Literature in 2007 and who has recently published what she has announced will be her final novel. Whereas earlier assessments have focused on Lessing's relationship with feminism and the impact of her 1962 novel, The Golden Notebook, this book argues that Lessing's writing was formed by her experiences of the colonial encounter. It makes use of postcolonial theory and criticism to examine Lessing's continued interest in ideas of nation, empire, gender and race, and the connections between them, looking at the entire range of her writing, including her most recent fiction and non-fiction, which have been comparatively neglected.

This book attempts to interrogate the literary, artistic and cultural output of early modern England. Following Constance Classen's view that understandings of the senses, and sensory experience itself, are culturally and historically contingent; it explores the culturally specific role of the senses in textual and aesthetic encounters in England. The book follows Joachim-Ernst Berendt's call for 'a democracy of the senses' in preference to the various sensory hierarchies that have often shaped theory and criticism. It argues that the playhouse itself challenged its audiences' reliance on the evidence of their own eyes, teaching early modern playgoers how to see and how to interpret the validity of the visual. The book offers an essay on each of the five senses, beginning and ending with two senses, taste and smell, that are often overlooked in studies of early modern culture. It investigates Robert Herrick's accounts in Hesperides of how the senses function during sexual pleasure and contact. The book also explores sensory experiences, interrogating textual accounts of the senses at night in writings from the English Renaissance. It offers a picture of early modern thought in which sensory encounters are unstable, suggesting ways in which the senses are influenced by the contexts in which they are experienced: at night, in states of sexual excitement, or even when melancholic. The book looks at the works of art themselves and considers the significance of the senses for early modern subjects attending a play, regarding a painting, and reading a printed volume.

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Eating, cooking, reading and writing in British women’s fiction, 1770–1830
Author: Sarah Moss

The study of food in literature complicates established critical positions. Both a libidinal pleasure and the ultimate commodity, food in fiction can represent sex as well as money, and brings the body and the marketplace together in ways that are sometimes obvious and sometimes unsettling. This book explores these relations in the context of late eighteenth- and early-nineteenth-century women's fiction, where concerns about bodily, economic and intellectual productivity and consumption power decades of novels, conduct books and popular medicine. The introduction suggests ways in which attention to food in these texts might complicate recent developments in literary theory and criticism, while the body of the book is devoted to close readings of novels and children's stories by Frances Burney, Mary Wollstonecraft, Maria Edgeworth and Susan Ferrier. Burney and Wollstonecraft explore the ways in which eating and not eating (mis)represent women's sexuality, and consider how women's intellectual and economic productivity might disrupt easy equations between appetites at the table and in bed. Edgeworth and Ferrier, Anglo-Irish and Scottish writers respectively, are more interested in cooking and eating as ways of enacting and manipulating national identity and class.

Open Access (free)
Laura Chrisman

, p. 94. 13 For an example of recent literary analysis that explores the impact of political resistance on imperialist fiction see Tim Watson, ‘Indian and Irish Unrest in Kipling’s Kim’, in Laura Chrisman and Benita Parry (eds.), Postcolonial Theory and Criticism (Cambridge: D.S. Brewer, 2000), pp. 95–114. 14 Gautam Premnath, ‘Remembering Fanon, Decolonizing Diaspora’, in Laura Chrisman and Benita Parry (eds.), Postcolonial Theory and Criticism, p. 66. 15 Vilashini Cooppan, ‘W(h)ither Post-colonial Studies? Towards the Transnational Study of Race and Nation’, in

in Postcolonial contraventions
The highs and lows
Jonathan Driskell

’s Rediscovering French Cinema , which also included a reprint of Bazin’s 1951 article ‘Carné et la désincarnation’ (‘The disincarnation of Carné’) – a discussion of Carné’s postwar work and reception. Other important pieces include Richard Abel’s ( 1988 ) edited volume French Film Theory and Criticism , which provides English translations of some of Carné’s articles on film, written as a journalist, as well as

in Marcel Carné