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A Review
Herb Boyd

This review of the James Baldwin symposium at Virginia State University weighs the insights presented by a number of Black and white scholars, only a few of whom might be considered deeply informed about his life and legacy. Even so, the emerging thinkers provide a wealth of new and interesting perspectives on Baldwin, and the event was highlighted by Molefi Kete Asante’s critical lecture. His comments are a veritable call to arms, an invitation to Baldwin devotees to contend with his conclusions, a process which this article will begin.

James Baldwin Review
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Repetition, Innovation, and Hollywood‘s Hit Film Formula
Kathleen Loock

This article explores the rise of the Hollywood sequel in the 1970s and 1980s, analysing contemporary industrial and popular discourses surrounding the sequel, sequelisation, and film seriality. Drawing on recent sequel scholarship as well as a wide range of film examples and paratexts it examines how industry insiders, trade papers, and film critics tried to make sense of the burgeoning sequel trend. The ensuing discourses and cultural practices, this article argues, not only shaped the contexts of sequel production and reception at the time but also played into the movies‘ serialisation strategies and their increasingly self-referential manoeuvres.

Film Studies

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.

Topsy-Turvy
Tony Whitehead

by both the New York Film Critics Circle (who also cited Leigh as Best Director) and the National Society of Film Critics. Speculation that this was to be a harbinger of Oscar-night success proved inaccurate, however: the film was nominated in the four categories of original screenplay, art direction, costume design and make-up – and won only the last two. Its sole BAFTA award was again for make-up, despite nominations in four other categories, including the Alexander Korda Award for Best British Film. Evening Standard Awards for Best Film and Best Actor (Broadbent

in Mike Leigh
Isabel Quigly

wonderful way of earning, not perhaps a living, but at least a crust. Soon afterwards I was asked, out of the blue, to be film critic of the Spectator , and entered what now seems a very foreign country indeed, the film world of the 1950s, in which I stayed for ten years. It was a past separated from us today not just by the changes in films and film-making, but by the social upheavals between then and now

in British cinema of the 1950s
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Susan Hayward
and
Phil Powrie

analysis; and, moreover, wherever possible, to use analytical tools developed in Film Studies during the same period as Besson’s work. We begin with a key article on the cinéma du look for the Revue du cinéma in 1989 by experimental filmmaker and film critic Raphaël Bassan, translated here for the first time. During the 1980s, the cinéma du look was roundly despised by establishment critics connected

in The films of Luc Besson
The ‘post-Hollywood’ Besson
Rosanna Maule

as the French Steven Spielberg. (Sarris, 1991 ) Many film critics, in France and within the international film scene, share the conviction that Luc Besson is one of the most Americanised European filmmakers of his generation, a typical byproduct of Hollywood’s pervasive influence over nation-state cinemas. This reputation has accompanied Besson for most of

in The films of Luc Besson
Barry Jordan

old, and the first to be let loose with a million-dollar budget (120 million pesetas approximately). Such precocity was unheard of and very soon journalists and film critics began referring to him as ‘Orsoncito’ (Little Orson) or ‘el Orson Welles español’ (the Spanish Orson Welles), linking him to one of the most canonical and revered as well as controversial names in film history. 1 Before its commercial release in Spain

in Alejandro Amenábar
The making of a director
Lisa Downing

peers were drawn and by which their work has come to be understood. Nevertheless, the diffident tone and self-confessed cowardice of Leconte’s autobiographical statement cited above sit uncomfortably alongside the close involvement with an artistic environment of contestation and anti-bourgeois sentiment he would go on to pursue. On leaving the IDHEC, Leconte worked as a film critic for Cahiers du

in Patrice Leconte
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Douglas Morrey
and
Alison Smith

also suggest a rough progression through Rivette’s œuvre , the earlier chapters referring at more length to the early films ( Paris nous appartient , Out 1 , Céline et Julie etc.) while the later chapters give more space to the 1980s and beyond ( L’Amour par terre , La Belle Noiseuse (1991), Secret Défense (1998) and so on). Our book begins with a consideration of Rivette’s work as a film critic

in Jacques Rivette