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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.

Cerwyn Moore

regions. The analysis which follows draws on the account of storied identity, cultural narratives and founding events in Chapter 1 – locating Kosova and Ichkeria in what may be called a much broader historically conditioned narrative space. It does so precisely because the milieu of earlier periods in which empires emerged and declined, and in which ideologies flourished and crumbled – particularly in the Cold War and post-Soviet period – shaped the political agendas of the anti-Russian Chechen armed resistance movement and the anti-Serb Kosova Liberation Army. Myth and

in Contemporary violence
Legends of virtual community
Caroline Bassett

‘virtual community’, read as a guarantor of the persistence of human communion within an increasingly automated world, this also tends mask the underlying logic of the Cities, which concerns the production of narrative space as a commodity. In making a connection between space and narrative I find a starting point in Michael de Certeau’s accounts of space and everyday life, which 4813 The ARC - PT/gk.qxd 132 19/4/07 10:59 Page 132 The arc and the machine may productively be read in relation to Lefebvre’s work on the production of space. For de Certeau, to write a

in The arc and the machine
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Gardens, religious tradition and ecoGothic exegesis in Algernon Blackwood’s ‘The Lost Valley’ and ‘The Transfer’
Christopher M. Scott

This chapter explores Algernon Blackwood’s ‘The Lost Valley’ (1910) and ‘The Transfer’ (1912) with a specific focus on their garden spaces. Blackwood’s childhood experience within gardens seemingly colours his portrayal of them as mystical landscapes in his fiction. Employing the ecoGothic within these narrative spaces, Blackwood constructs uncanny settings that demonstrate a nexus between familiar natural spaces and unfamiliar supernatural characteristics. Despite considering himself a Buddhist during a period in his life, Blackwood was knowledgeable about Judaeo-Christian ideologies due to his strict Christian upbringing. Consequently, Judaeo-Christian iconography exists within the supernatural garden settings in his narratives, and when combined with the function of the ecoGothic, Blackwood’s supernatural garden spaces establish dread through metaphorical connections to Eden and Original Sin. Blackwood’s ‘The Lost Valley’ and ‘The Transfer’ might anticipate late twentieth-century ecotheology through their physical landscapes that rhetorically emphasize how humanity could transcend postlapsarian paranoia in a fallen world.

in EcoGothic gardens in the long nineteenth century
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Martin O’Shaughnessy

of the background. Two different types of story compete for narrative space 5 La Grande Illusion , 1937. Elusive community: the love of good food seems to draw the French together. Differences of class push them apart. Note the stiff formality of de Boieldieu on the far right

in Jean Renoir

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.

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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Rethinking art, media, and the audio-visual contract
Author: Ming-Yuen S. Ma

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.

Textual analyses
Robert James

’s musicals, and featured as a Kineweekly ‘box-office success’ in 1939.10 It is not hard to see why. Sweethearts was a particularly highly polished affair in which Eddy and MacDonald play married Broadway stars Ernest Lane and Gwen Marlowe. The film allows much narrative space for the pair to do what they did best – and what the cinema audience expected from them – perform. Significantly, Lane and Marlowe (similar to music-hall stars) share a close rapport with their audiences, and in one sequence, get them to accompany them while singing the show’s theme song. Cinema

in Popular culture and working-class taste in Britain, 1930–39
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Caroline Bassett

traces the history of a long-standing virtual community, read here as the history of a change in narrative space. At issue is the degree to which narrative itself may be something that is recuperated and commoditized within the new economy of the Internet. Finally I turn to Elephant, Gus Van Sant’s film about the Columbine killings, which may be regarded as interactive and which provokes consideration of non-linearity as a new form of composition, rather than as a form of decomposition or simple disruption. This opens the way to a broader consideration of the cultural

in The arc and the machine