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If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.

John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

into some little ‘B’ feature. And of course as soon as you state that the film-maker and his films are one, there can be no minor films, as the worst of them will always be in the image of their creator. 38 Andrew Sarris became, as Buscombe said, the American apologist for the Cahiers du Cinéma ’s Young Turks. 39 In 1962 he

in Lindsay Anderson
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Ben McCann

[1951], La Fête à Henriette [1952]), that reflected the destabilisation of gender relations in French society (Panique [1946], Au royaume des cieux [1949]), or that interfaced between the commercial and the art-​house (the Don Camillo series [1952, 1953], L’Affaire Maurizius [1954]). 1 ‘French cinema is dead.’ 2 ‘You must kill the father, but you cannot kill Renoir.’   187 Late style  187 Now, towards the end of his career, Duvivier continued to return to source texts (Pot-​Bouille [1957], Chair de poule [1963]) and made minor films with New Wave inflections (La

in Julien Duvivier
Ben McCann

’s films are full of ‘colour’. Authentic sights and sounds, real places shot on location, and documentary inserts all layer his films with truthfulness and ‘being there-​ness’. Duvivier spent his career looking for ways to inculcate an ‘atmosphere’ into each film. Even the minor films towards the end of his career are frequently saturated with a specific look, style, visual pattern, and mood. Alistair Cooke also applauded the director’s ‘sensible realism’ in La Bandera and concluded that he was one of the few directors to ‘loo[k]‌generously at beautiful scenery without

in Julien Duvivier
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Carrie Tarr

the Jean Vilar theatre in Suresnes). Kurys first performed in a play for children called Glomoël et les pommes de terre and had a part in Jarry sur la hutte with the Renaud-Barrault company in 1970. She worked with Antoine Bourseiller, among others, performed in spaces as diverse as the Café de la Gare and the Cartoucherie, and had a number of minor film and television roles. However, her life as an actress was not

in Diane Kurys
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Brian McFarlane

braving the elements because he can’t get into his own home. In an essay commissioned for a recent DVD release of the film, Neil Sinyard wrote: ‘The inspiration came from an unusual source … His [Wilder’s] mind had then turned to a minor film character who had always intrigued him, Trevor Howard’s friend in David Lean’s Brief Encounter (1945), whose flat Howard wishes to use for an affair with a married woman (Celia Johnson).’ 10 Of course, the brief encounters in Wilder’s film do not remain unconsummated like that in Lean’s, but, as Sinyard goes on to point out

in The never-ending <i>Brief Encounter</i>
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Phil Powrie

assistant director, and then to first assistant director on some fourteen minor films, most of them comedies, working with a number of well-known directors, such as René Clément (La Maison sous les herbes , 1971; La Course du lièvre à travers les champs , 1972), Claude Berri (Le Cinéma de papa , 1970; Le Mâle du siècle , 1974), and more particularly Claude Zidi, which allowed Beineix to work with well

in Jean-Jacques Beineix
Sue Harris

celebrity of Coluche, and was a moderate commercial success, but it has since been relegated to the status of minor film in Blier’s work. However, the film’s anticipation of, and experimentation with the same dramatic and thematic inversions which underlie one of Blier’s most successful films, Trop belle pour toi, point to this as an important film in Blier’s evolving dramatic conception, and one which merits further consideration in

in Bertrand Blier
Serge Sur

people and people look to themselves first. It is our duty to look after ourselves’. 19 An otherwise minor film gives an instance of this classical theme: The Adjustment Bureau (George Nolfi, USA, 2011) starring Matt Damon and Emily Blunt. See Serge Sur, ‘ Le vote à l’écran : The Man Who Shot Liberty Valance , John Ford— The Adjustment Bureau , George Nolfi—de la construction de la démocratie à l’illusion démocratique’ (2012) 21 Politeia 48–58. 20 See the conversations between Alfred Hitchcock and François Truffaut , Hitchcock-Truffaut, édition

in Cinematic perspectives on international law
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Paul Newland

across a wide variety of British films. The aims of this book The historical and biographical fragments pertaining to Nobody Ordered Love and Long Shot demonstrate that the 1970s careers of professionals involved in two minor films about the trials and tribulations of the British film industry are illustrative of a profoundly fragmented film-making culture. We can see that British actors did not only work within what we might think of as British national cinema. Many of these individuals were cast in films made in the USA, mainland Europe and Australia. We can also see

in British films of the 1970s