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Bill Marshall

2 New realisms Hôtel des Amériques (1981) Hôtel des Amériques opens with a shot of a moonlit beach, shoreline and promontory, the gentle waves audible on the soundtrack. The caption ‘Biarritz’ appears, followed by opening credits over the same shot announcing the presence of the film’s two stars, Catherine Deneuve and Patrick Dewaere. The credits continue after a fade to a montage of black and white archive footage of the town, accompanied by the first presence on the soundtrack of a melancholic Philippe Sarde melody played on piano and strings which will

in André Téchiné
Guy Austin

stylisation and even formal experimentation, the films of le jeune cinéma are usually raw and naturalistic, with a documentary aesthetic that reflects their often bleak socio-political content. As a result, this new genre has also been termed ‘new realism’ or ‘the return of the real’ (see for example Powrie 1999 ). Possibly influenced by the ultra-naturalistic shooting practices laid down by Lars von Trier

in Contemporary French cinema
Cruelty, Darkness and the Body in Janice Galloway, Alison Kennedy and Louise Welsh
Victor Sage

This essay seeks to define a Gothic tendency in the ‘viscerality’ of some recent and prominent Scottish women writers: Janice Galloway, Alison Kennedy and Louise Welsh. The argument addresses an alienating tension in this ‘viscerality’ between a fabular form and the impression of a new realism of social surfaces. This is a Gothic of cruelty and violent representation of the body, which opens a Scottish urban culture, portrayed as a synecdoche for divided consciousness, to fables of sexual and political alienation.

Gothic Studies
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Author: Will Higbee

The book begins with a consideration of the origins and influences that have shaped Mathieu Kassovitz's development as a director, but also the cultural context within which he emerges as a filmmaker. It argues new realism, the banlieue. The book examines the American influences evident in all of Kassovitz's films to date as a director and explores the continuity and difference between his films as actor and director. The first phase of Mathieu Kassovitz's career comprises his short films and feature films up to and including Assassin(s), engages in an often provocative way with socio-political debates in contemporary France through an aesthetic mode of address designed to appeal primarily to a youth audience. The second phase, post-Assassin(s), appears to be marked by a conscious shift towards bigger-budget, more unashamedly commercial, genre productions. The book explores the cultural context within which Mathieu Kassovitz emerged to direct his first three short films, concentrating in the second half on key transformations relating to that have taken place in relation to French popular culture. What Kassovitz offers is not social realism, but rather what might be termed 'postmodern social fables'. Assassins, Les Rivières pourpres, Fierrot le pou and Cauchemar blanc, Métisse, La Haine are some films discussed extensively. In a national cinema that has made strategic use of the auteur's cultural cachet in order to mark its difference from Hollywood, Kassovitz is seen by many to side more closely with the American 'invaders' than the defenders of French cultural exception.

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Will Higbee

This book has sought to argue for Kassovitz’s importance in contemporary French cinema as a filmmaker whose work has engaged with (and, in some cases, helped shaped the direction of) key shifts in French cinema since the early 1990s, such as: new realism, the banlieue film and the ‘post-look’ spectacular genre film. In so doing, one of the central concerns in these

in Mathieu Kassovitz
Ben Cohen and Eve Garrard

, Mazower’s approval of the demise of humanitarian interventionism has been made explicit. There’s a ‘new realism’, he says, that is welcome; again, the ‘new maturity in international relations’ is to be viewed positively. His reasons for thinking so are, in short, that ‘the way leaders treat their people is not the only problem that counts in international affairs‘. One is bound to accept the truth of this, of course – it isn’t the only problem that counts in international affairs. Still, the fact that assaults by a state on its own citizens are one of the more

in The Norman Geras Reader
The New Playwrights Theatre and American radical Constructivism
Barnaby Haran

to minds and bodies of workers inevitable? Or is there a difference between high pressure production in socialist Russia and in Henry Ford’s Detroit?’99 The New Realism of John Dos Passos’s Airways Inc. The Daily Worker was considerably more congratulatory about Dos Passos’s Airways Inc., which was the final NPT production, opening in February 1929 at the Grove Street Theatre. A. B. Magil commended Airways Inc. as the best NPT play because ‘it has been written, unlike certain other New Playwrights offspring, with intelligence, clarity, and discipline’, and didn

in Watching the red dawn
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Author: Bill Marshall

This is a full-length monograph about one of France's most important contemporary filmmakers, perhaps best known in the English-speaking world for his award-winning Les Roseaux sauvages/Wild Reeds of 1994. It locates André Téchiné within historical and cultural contexts that include the Algerian War, May 1968 and contemporary globalisation, and the influence of Roland Barthes, Bertolt Brecht, Ingmar Bergman, William Faulkner and the cinematic French New Wave. The originality of his sixteen feature films lies in his subtle exploration of sexuality and national identity as he challenges expectations in his depictions of gay relations, the North African dimensions of contemporary French culture and the centre–periphery relationship between Paris, especially his native southwest and the rest of France. The book also looks at the collaborative nature of Téchiné's filmmaking, including his work with Catherine Deneuve, who has made more films with him than with any other director, and the role of Philippe Sarde's musical scores.

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Sam Rohdie

modernism of ­perception, and thus turned away from an objective rendering to a subjective one. While classicism celebrated the formality of its means to create an ideal picture, the new realism of Impressionism was primarily concerned with the act of perception and thereby the work of realising the action of painting and the time, light and colours that filled that time and came to be the subject of the work. On the one hand, it made the work of art its subject: not simply an instrument to represent something (nature, an idea), a set of procedures and relations (between

in Film modernism
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Sam Rohdie

rather more than elements belonging to editing, the montage of cutting and pasting after filming, though the distinction is not simple: all films are edited and a mise en scène is already a choice of relations, editing by other means. The new tendencies were promoted in the name of a new realism, though for Pasolini much of it seemed to relate to a recycled naturalism and he opposed it. Of the various

in Montage