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The great American film critic Manny Farber memorably declared space to be the most dramatic stylistic entity in the visual arts. He posited three primary types of space in fiction cinema: the field of the screen, the psychological space of the actor, and the area of experience and geography that the film covers. This book brings together five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guediguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. It proposes that people think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new 'space of the cinematic subject'. Dumont's attraction to real settings and locality suggests a commitment to realism. New forms and surfaces of spectatorship provoke new sensations and engender new kinds of perception, as well as new ways of understanding and feeling space. The book interrogates Guediguian's obsessive portrayal of one particular city, Marseilles. Entering into the spaces of work and non-work in Cantet's films, it asks what constitutes space and place within the contemporary field of social relations. The book also engages with cultural space as the site of social integration and metissage in the work of Kechiche, his dialogues with diasporic communities and highly contested urban locales. Denis's film work contains continually shifting points of passage between inside and outside, objective and subjective, in the restless flux.

War resistance in apartheid South Africa
Author: Daniel Conway

This book explores the gendered dynamics of apartheid-era South Africa's militarisation. It analyses the defiance of compulsory military service by individual white men, and the anti-apartheid activism of white men and women in the End Conscription Campaign (ECC), the most significant white anti-apartheid movement of South Africa. Militarized, white masculinity was a dominant model of masculinity that white men were encouraged to perform and white women were encouraged to admire. One of the most consistent features of pre-1994 South African society was progressive militarisation, in terms of both military preparedness and activity and the social conditions necessary for war making. The book then analyses the 1984 Citizenship Act as evidence that conscription was a transformative political act for the men who undertook it. The wider peace movement is also analysed as a transgressive sub-cultural space where radical political subjectivities could be formulated. The ECC's use of art, music and satire is assessed as a means to critique the militarisation of South African society. The role of women in the ECC, the feminist activism and the ways in which constructs of white femininity were addressed are also analysed. The book also explores the interconnections between militarisation, sexuality, race, homophobia and political authoritarianism. Finally, it conceptualises the state as premising its response to objectors on a need to assert and reinforce the gendered binaries of militarisation.

Transgressing the margins into public spaces to foster adult learning
Tara Hyland-Russell and Janet Groen

educator and researcher in adult learning who was a member of the Storefront 101 working committee. Together we researched Radical Humanities2 programmes across Canada. This chapter explores the insights gained from Tara’s experience as instructor in Storefront 101, Janet’s experience as long-time working committee member of the programme, and our joint research to explore how access to the arts and such cultural spaces as art galleries, museums, theatres and universities affects the lives of marginalised adult learners. To capture the multiple layers of barriers

in Lifelong learning, the arts and community cultural engagement in the contemporary university
Meghji Ali

’s narrative, as he comments on the dangers of ‘being too comfortable’ in Black cultural spaces. Other participants, such as Kwadwo and Edward, made similar arguments, claiming that if ‘Black culture’ is to be taken seriously in the mainstream, it has to be produced and consumed in mainstream institutions – even if such institutions are essentially white. Using the example of places like New Beacon Books, the BCA, and the Bernie Grant Arts Centre, such participants claimed that they were incredibly important for meeting like-minded Black people with interests in literature

in Black middle class Britannia
Maria Rovisco

cleavages challenge both internally and externally the political boundaries of the nation-state. In deploying a particular physical and ‘mental’ landscape such films refuse to express an idealised or uniform image of the nation. In European ‘films of voyage’, the iconography of the countryside plays an important part in mapping the nation as a diverse rather than a homogenous cultural space. Two case

in Cinematic countrysides
Domestic recipe collections in early modern Wales
Alun Withey

all the more necessary. 4 This chapter explores the nature and spread of medical information, and the importance of manuscript recipe collections as a vehicle in this process. Using Welsh sources, it argues that medical recipes were neither physically nor linguistically static, but instead moved across geographical, social and cultural spaces with ease. Central to this process

in Reading and writing recipe books, 1550–1800
James S. Williams

exclusion in order to render present those who are normally disenfranchised from the networks of representation. Chapter 5 engages with cultural space as the site of social integration and métissage in the work of Kechiche who operates from within the context of France’s marginal and diasporic communities while always in dialogue with the white mainstream in recognisable, highly contested urban locales. Focusing on Kechiche’s strategies of ellipsis, performance, and ‘free’ sound in language and music, I show how Kechiche frames and ‘deframes’ the culturally loaded

in Space and being in contemporary French cinema
Abstract only
Texts and contexts in the Kebab Show theatre troupe
Annedith Schneider

minimised. It is these homes recreated through narrative, not the literal homes, that are passed on. If we look at the language of a text as indicating an attempt to compensate for a lost home space, Kebab Show’s first and third plays (The Imam’s Daughter and Children of the Times) with their monolingual texts and their plots set firmly within a Turkish cultural space, do work as texts to reproduce a public place for Turkish – which has otherwise been relegated to private home spaces. The group’s second play, France, I’m Here, Too, performed primarily in Turkish but also

in Turkish immigration, art and narratives of home in France
Feminine and feminist educators and thresholds of Indian female interaction, 1870–1932
Tim Allender

feminists such as Sarala Devi Chaudhurani and Rokeya Sakhawat Hossain, who were strongly involved in the Bengal Indian national movement, were advocating a non-British education for Indian women and girls. 121 However, other more affluent Indian women, through their travels abroad, began to see their own cultural space in world view. Atiya Fyzee, an Indian Muslim from Bombay who travelled to Edwardian

in Learning femininity in colonial India, 1820–1932
Author: Richard Hillman

This book applies to tragic patterns and practices in early modern England a long-standing critical preoccupation with English-French cultural connections in the period. With primary, though not exclusive, reference on the English side to Shakespeare and Marlowe, and on the French side to a wide range of dramatic and non-dramatic material, it focuses on distinctive elements that emerge within the English tragedy of the 1590s and early 1600s. These include the self-destructive tragic hero, the apparatus of neo-Senecanism (including the Machiavellian villain) and the confrontation between the warrior-hero and the femme fatale. The broad objective is less to ‘discover’ influences—although some specific points of contact are proposed—than at once to enlarge and refine a common cultural space through juxtaposition and intertextual tracing. The conclusion emerges that the powerful, if ambivalent, fascination of the English for their closest Continental neighbours expressed itself not only in, but through, the theatre.