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Bulletin of the John Rylands Library
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Jean Cocteau, the first French writer to take cinema seriously, was as old and young as cinema itself; he made his first film in 1925 and completed his last film when he was 70. This book first deals with the issue of the type of film maker that Cocteau was: as a auteur, as a collaborator, as an experimenter, and as a theorist. It takes the pulse of Cocteau's cinema by examining in detail his ground-breaking first film Le Sang d'un poète', and argues that the film offers a vision of the potential of film for Cocteau. The book traces the evolution of realism and fantasy in Cocteau's work by introducing a main element, theatre, and assesses the full gamut of Cocteau's formal inclinations: from the legend and fantasy of L'Eternel retour to the spectacular fairytale of La Belle et la bête; from the 'film théâtral' of L'Aigle à deux têtes to the domestic melodrama Les Parents terribles which 'detheatricalises' his original play. In Le Testament d'Orphée, all the various formal tendencies of Cocteau's cinema come together but with the additional element of time conceived of as history, and the book re-evaluates the general claim of Cocteau's apparently missed encounter with history. The book considers whether the real homosexual element of Cocteau's cinema surfaces more at the most immediate level of sound and image by concentrating on the specifics of Cocteau's filmic style, in particular camera angle, framing and reverse-motion photography.

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Author: Darren Waldron

Few directors are as ambiguously placed in the French popular imaginary as Jacques Demy. With nine shorts and thirteen full-length features, Demy's filmography is solid. Although he died in October 1990, Demy's legacy as an iconic director for generations of admirers and filmmakers endures. This book examines Demy's relation to the French New Wave (Nouvelle Vague). It probes Demy's 'musicals', Les Parapluies de Cherbourg, Les Demoiselles de Rochefort and Une chambre en ville. The book shows how the films comply with and deviate from the codes and conventions of the Hollywood staple, producing a specifically Gallic and 'Demyesque' twist on the genre. It is a commonplace of writings on Demy to highlight his 'monde en-/ enchanté', meaning both 'expressed through song' and 'enchanted'. The book examines Demy's adaptations of fairytale (Peau d'âne), fable (The Pied Piper) and myth (Parking). The representations of gender and sexuality in Demy's cinema, with particular attention to Le Bel Indifférent, La Naissance du jour L'Evénement le plus important depuis que l'homme a marché sur la lune and Lady Oscar are analysed. Finally, the book reveals how his final feature, Trois places pour le 26, establishes the foundations of his posthumous myth, which Agnès Varda and other directors have affirmed and supplemented since his death. Beneath the apparently sugary coating of his films lie more philosophical reflections on some of the most pressing issues that preoccupy Western societies, including affect, subjectivity, self/other relations and free will.

Possession and fairytales
Alexa Alfer and Amy J. Edwards de Campos

yearn’ ( PM: 71). At the same time, works like Possession , Angels and Insects and indeed Byatt’s various forays into the realm of the fairytale double as twentieth-century intellectual responses to nineteenth-century fiction. They are active re-in(ter)ventions of the novel of ideas at the end of the twentieth century, and, by re-emphasising the place of storytelling within this

in A. S. Byatt
The Children’s Book, The Biographer’s Tale and Angels and Insects
Alexa Alfer and Amy J. Edwards de Campos

, … rediscover, and see differently, the fragments of their world, their culture, in the ruins’ (Byatt, 1995d: n.p.). ‘The Thing in the Woods’ is a similarly nightmarish tale which, although set in a realistically rendered wartime Britain rather than a generic fairytale village, also features an encounter with a hideous dragon or worm. This time the monster, or Thing, is glimpsed by two young evacuees, Penny and

in A. S. Byatt
Patsy Stoneman

daughters by wives to be wives. The novel begins at the beginning, with ‘the old rigmarole of childhood’ (WD: 5), and the first two chapters are full of references to fairytales. Like modern feminists, Elizabeth Gaskell recognised the force of these ritual stories told to children in forming expectations. Not only was she familiar with all the standard collections, but in her story Curious if True (1860; K7) she shows their living force by describing a castle full of fairy-tale characters transformed into Victorian social types. Just as many fairy-tales suggest rites of

in Elizabeth Gaskell
Fairytale, fable and myth in the Demy-monde
Darren Waldron

3 Fantasy and its disenchantments: fairytale, fable and myth in the Demy-monde ‘Enchanté’, which, as seen, is the most commonly used adjective to describe Demy’s musical cinema, also applies to varying degrees to his adaptations of fairytale, fable and myth. Yet, congruent with his defiance of expectations, he fuses the beguilement anticipated of such forms with disillusionment. On the surface, his screen adaptations of Charles Perrault’s Peau d’âne, Robert Browning’s The Pied Piper and Robert Graves’s version of Orpheus’s descent into the underworld appear

in Jacques Demy
Coline Serreau and intertextuality
Brigitte Rollet

century’ (as the eighteenth century was also dubbed) and to a lesser extent from the seventeenth century. Echoing literary modes of social criticism, from Voltaire’s philosophical tales to Diderot’s dialogues between Jacques le Fataliste and his master ( Jacques le fataliste et son maître, 1773), Serreau repeatedly offers new conceptions and visions of ‘family’, society and communities, which question modern societies as well as the ideological choices they embody. Her rewriting of the fairy-tale to include elements of gender, class

in Coline Serreau
Creative women and daydreaming in Margo Lanagan’s Tender Morsels (2008)
Emma V. Miller

readers, its consideration of fairy-tale themes and many of the ways it uses parallel universes, time travel and magic lend themselves to a strong feminist message. Indeed, the strengths of this text are built around the confrontation of civilisation, through Freudian and Lacanian psychoanalytic interpretations of female sexuality, expression, language and creativity. It consistently challenges what it means to be real

in Incest in contemporary literature
Gothic mansions, ghosts and particular friendships
Paulina Palmer

reader as an imitation of an authentic gender, do the reverse. They challenge the binary construct masculine/feminine, serving, as Judith Butler observes, to ‘bring into relief the utterly constructed status of the so-called original’. 24 Appropriately, considering Leonie’s transgressive disregard of conventions of femininity, White assigns to her the role of the champion of fairytale and Gothic fantasy as

in Queering the Gothic