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Author: Emma Wilson

Resnais's films are often perceived as demanding, cerebral or soporific. Resnais's directorial ambitions were first realised in a series of documentaries and, from 1959 onwards, in feature films. As his career develops, his filmography replaces his biography in the spotlight of critical interest. This book offers introductions to individual films in its eight chapters. Reflecting on the disruption of chronology in Resnais's films, and their focus on intense pain and rarefied mental activity, notions of trauma and post-traumatic stress disorder have been key to recent critical discussion. In Hiroshima mon amour, the history of Hiroshima is embedded within the first traumatic and erotic images of the film. Resnais's second feature film, L'Année dernière à Marienbad, is composed of echoes of Chekhov. Muriel is a film which plays on our nerves. Between 1964 and 1976 Resnais made three films: La Guerre est finie, Je t'aime je t'aime and Stavisky; he also contributed a section to Chris Marker's collaborative Loin du Viêt-nam (1967) and worked on a number of projects which did not come to fruition. Providence is a film which is self-conscious about cinema as medium. From his extraordinary reckoning with parallel lives and human behaviour in Mon oncle à Amérique, he moves to a tightly interwoven yet farcical drama about history and education in La Vie est un roman, two delicate chamber pieces about love and death, L'Amour à mort and Mélo, and a burlesque yet melancholy film about an American cartoonist, I Want to Go Home.

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Author: Martine Beugnet

Claire Denis' first film, Chocolat, was a deceptively gentle family chronicle set in colonial Africa. She focuses on ordinary people, men and women, black and white, homosexuals and heterosexuals, whom displacement and difference have set apart, relegated to the outskirts of society and to the margins of representation. In her films, the perception of the Other is always complex and ambiguous. This book outlines the multi-faceted, poetic vision of the contemporary world that emerges through Denis' filmmaking to date and to bring to light its main thematic, temporal, spatial and stylistic implications. The analysis presented focuses on her fictional feature films, which form the main body of her work and have generally become easily accessible in video or DVD format. In her first feature, Chocolat, the director's early experiences made her sensitive to oppression and misappropriation, exile and racism, alienation and transgression. Location and space emphasise a sense of displacement and function as metaphors for the process of potential exclusion of the individual (body) from society. But the metaphor also evokes an inner sense of exile and longing, a feeling of foreignness that is played out at the level of the individual and of the individual's body through relations of desire, fear and rejection. Denis' work stands apart from a tradition of screenplay and dialogue-based cinema that defines much of France's auteur as well as of its popular production. Denis' work has an echo of a wide range of contemporary thought and the traces of influential aesthetic and genre models.

Author: Phil Powrie

One of the key features of Jean-Jacques Beineix's relationship with the film image is the notion of seduction and the erotic. This book shows Beineix's films form a coherent body of work and sketches out a psychodrama formed by Beineix's feature films. It explains, the cinéma du look was placed by many, including Beineix himself, in a position of confrontation with the cinema of the nouvelle vague. The book considers the early 1980s debates concerning the film image which led to the view espoused by Jean-Michel Frodon, after a brief account of Beineix's apprenticeship years. It attempts to place Beineix's work within the context of the development of French cinema, and discourses on the French cinema, as they evolved during the 1980s. Beineix's first feature film, Diva, enjoyed considerable success, becoming something of a cult film for the youth audience of the time, as well as launching the careers of Richard Bohringer and Dominique Pinon. More than any of the films of the cinéma du look, La Lune dans le caniveau exemplifies the characteristics Bassan enumerates: a mise en scène, which privileges exuberance, light, movement, especially the curves and curls of the camera, and an emphasis on sensation. Bereavement after IP5 turned Beineix away from feature filmmaking, despite several propositions from American producers, Alien Resurrection and The Avengers among them.

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A Short History of Brighton on Film
Frank Gray

Over fifty feature films have been made either in or about Brighton and they have all contributed to popular understandings of Brighton‘s history and its character. Collectively, they present the city as a site for extreme emotions and conflicts found within narratives that are always set either on the seafront or at the Royal Pavilion. It can be argued that these Brighton films are not about Brighton at all but instead serve as vehicles for the expression of popular anxieties, concerns and desires. As such, they transcend the specificities of place and history and become projections of what could be described as a national unconscious.

Film Studies
Eurimages and the Funding of Dystopia
Aidan Power

Since its inception by the Council of Europe in 1989, Eurimages has been to the fore in financing European co-productions with the aim of fostering integration and cooperation in artistic and industry circles and has helped finance over 1,600 feature films, animations and documentaries. Taking as its thesis the idea that the CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that frequently undermine both the EU and the continent at large, this article analyses select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural standpoints with a view toward decoding institutionally embedded critiques of the European project.

Film Studies
An introduction
Editor: Jonathan Rayner

This book offers introductory readings of some of the well-known and less well-known feature productions coming out of Australia since the revival in the national film industry at the end of the 1960s. The interpretations of the texts and the careers of their makers are considered in relation to the emergence of an indigenous film culture and the construction of national identity. The majority of the films examined in the book have had theatrical or video releases in the UK. The independent development of several indigenous film genres has been an important feature of recent production, and helped to punctuate and bracket the streams of feature production that have evolved since 1970. These Australian genres have been identified and evaluated (the Australian Gothic, the period film, the male ensemble film) and are worthy of consideration both in their own right and in their intersection with other conventionalised forms. These include science fiction, fantasy and horror in comparison with the Gothic, the heritage film and literary adaptation in connection with the period film, and the war film and rite of passage in relation to the male ensemble. More recently, an aesthetic and thematic trend has emerged in the examples of Strictly Ballroom, The Adventures of Priscilla, and Muriel's Wedding, which foregrounds elements of the camp, the kitsch and the retrospective idolisation of 1970s Glamour. Such chronological, stylistic and thematic groupings are important in the interpretation of national filmmaking.

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Phil Powrie

Most of Beineix’s feature films to date were released in a single decade, the 1980s, and he is generally seen as the best example of what came to be known as the cinéma du look. This was one of the two new types of film to emerge in the 1980s (the other being the heritage film), to join the other popular French genres of the comedy and the police thriller. For reasons which I shall explain, the

in Jean-Jacques Beineix
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

cited as this chapter’s epigraph fifteen years before he made his first feature film. It was not an exact forecast: by the time he reached forty he had to his credit extensive critical writing, eight short films and several televised episodes of The Adventures of Robin Hood (1955–56). He had also developed a substantial career in theatre, directing no fewer than ten plays at the Royal Court between 1957 and 1961. That

in Lindsay Anderson
Abstract only
Martine Beugnet

’ filmmaking to date, and to bring to light its main thematic, temporal, spatial and stylistic implications. The analysis will focus primarily on her fictional feature films, which form the main body of her work and have generally become easily accessible in video or DVD format. It will also include brief discussions of her documentary and short films. Less readily available for viewing, these works nevertheless form an important aspect of

in Claire Denis
Open Access (free)
Ian Scott and Henry Thompson

that genre’s tradition and trends over recent years, including the increasing presence of feature film aesthetics and entertainment values. By the time JFK hit US cinemas in late 1991, Stone’s political filmmaking was the subject of op-​ed pages in major national newspapers, not simply the province of independently-​minded film critics. The initial reception to the counter-​mythic rendering of Kennedy’s death constructed two opposing ranks almost immediately. In one corner stood the media –​primarily print journalists, but supported by a few television commentators

in The cinema of Oliver Stone