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Richard Rushton

2  Realism, reality and authenticity  3  Searching for reality: Chronique d’un été (Jean Rouch, Edgar Morin, 1961) I n terms of the distinction outlined in the previous chapter of this book, one might ordinarily think that André Bazin’s position in the history of film theory is set. He is a realist and that means, quite simply, that his understanding of cinema is predicated on a distinction between illusion and reality. Some films –  especially those with excessive editing, or with fanciful stage settings – will deliver illusion, while others – particularly

in The reality of film
Angie Blumberg

modernists of the previous chapter , uncovering how archaeological debates at the fin de siècle shaped literary and aesthetic discussions about legitimacy, value, and authenticity. In the last few years, scholars of nineteenth-century studies have exhibited a heightened fascination with fakery, forgery, and deception, and Wilde’s phrase ‘beautiful untrue things’, has gained a lot of traction. 4 This

in British literature and archaeology, 1880– 1930
Sophie Belot

In French cinema, representations of girls have often been associated with films made by women, as demonstrated by Carrie Tarr with Brigitte Rollet (2001). They claim that the young girl is the major cinematographic topic for a woman’s first film, and names, such as Céline Sciamma in the late 2000s, Diane Kurys and Catherine Breillat in the 1970s, substantiate this position. However, Breillat’s A Real Young Girl was different, as it attracted critics’ acerbic reception and was subsequently banned for its open depiction of a young girl’s sexual experiences. It is argued that Breillat’s images of the young girl’s sexual initiation in the 1970s brings to the fore the significance of the idea of authenticity in relation to sex and cinema. Examining the representation of the ‘real young girl’ highlights the ideas of reflexivity and creativity attached to the existentialist notion of authenticity. This article aims to show that the young girl stands as a metaphor for Breillat’s auteurist approach to challenging existing filmic conventions.

Film Studies
A paradox
Sarah Salih

Authenticity, agreed to be an impossible goal, still haunts discussion of films about the past. As Richard Burt argues, the critical consensus has decisively rejected the ‘fidelity model’. 1 In the wake of the linguistic turn it has become apparent that historical films are not academic histories, and that academic histories are not themselves the past, but representations

in Medieval film
A discursive history of French popular music
David Looseley

2 Authenticity and appropriation: a discursive history of French popular music David Looseley T Introduction his chapter is about the meanings of popular music in France.1 Music fans generally believe they know what they mean by ‘popular’ and ‘pop’; but not all of us can readily say what that is. Here, I shall use ‘popular’ to refer to what are, today, industrially produced forms of music directed at and appreciated by a very large, or ‘mass’, audience. Such forms do not usually require any conventional musical competence or erudition; and they are easily

in Imagining the popular in contemporary French culture
Heather Ingman

Irish film, drama, and literature. 3 Throughout her work, in novels such as Hidden Symptoms , Remembering Light and Stone , and One by One in the Darkness , Deirdre Madden has been preoccupied with e thical problems of identity and authenticity. Authenticity may have many different meanings in psychology, philosophy, and aesthetics. Central to Madden’s fiction is the

in Deirdre Madden
Tim Markham

3681 The Politics of war reporting.qxd:Layout 1 28/9/11 11:14 Page 74 4 Practical mastery of authority, authenticity and disposition As the preceding chapters have made clear, the purpose of this book is not to tell the personal stories of individual war reporters, but to describe the structured, structuring logics which determine how the field of war reporting is experienced. In fact the two are related, since individuation, along with professional identities and values, is among the common matrices by which individuals make sense of their professional

in The politics of war reporting
Bulletin of the John Rylands Library
Abstract only
David Hume, Horace Walpole and the Emergence of Gothic Fiction
Jonathan Dent

This article explores the complex, oft en antagonistic relationship between Horace Walpole‘s The Castle of Otranto (1764) and David Hume‘s The History of England (1754–62). Focusing on textuality and the interrelationship between literature and history, answers to a number of questions are sought. For example, why is Otranto so concerned with historical authenticity, what techniques does Walpole use to write the past and how do these compare with Humes methods? Walpole had read several volumes of Hume‘s history before writing his Gothic novel and this article proposes that Otranto can be read as a bold response to The History of England.

Gothic Studies
Open Access (free)
Writing about Personal Experiences of Humanitarianism
Róisín Read
,
Tony Redmond
, and
Gareth Owen

(2016) uses memoirs to explore the ethical impulses that drive people to engage in humanitarian work and Róisín Read (2018) examines what humanitarian memoir can tell us about gender identity in humanitarianism. Emily Bauman analyses the growth in humanitarian memoir and argues it ‘generates an aura of authenticity much-needed by an industry reliant on public donations and on the perception of its status as a player outside the systems of state sovereignty and global capital’ ( Bauman, 2019 : 83). This small but growing body of research highlights the need to take

Journal of Humanitarian Affairs