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The popularity of the polar The first French thrillers date from the silent era, with Louis Feuillade’s popular Fantômas and Judex series (between 1913 and 1918). Since World War Two, however, the form has often been associated with the American genres of the film noir and the gangster film (see below). The end of the war saw an influx of American crime novels published
Control Over Northern Sea Route”, Maritime Executive , 8 March 2019, www.maritime-executive.com/article/russia-tightens-control-over-northern-sea-route (accessed 29/07/2021). 42 Quoted in “Polar Powers: Russia's Bid for Supremacy in the Arctic Ocean”, Financial Times , 27 April 2019. 43 Ambassador
This article considers a unified polar Gothic as a way of examining texts set in Arctic and Antarctic space. Through analysis of Coleridge‘s The Rime of the Ancient Mariner, Shelleys Frankenstein, and Poe‘s The Narrative of Arthur Gordon Pym of Nantucket , the author creates a framework for understanding polar Gothic, which includes liminal space, the supernatural, the Gothic sublime, ghosts and apparitions, and imperial Gothic anxieties about the degradation of civilisation. Analysing Verne‘s scientific-adventure novel The Adventures of Captain Hatteras (1866) with this framework, the author contextualises the continued public interest in the lost Franklin expedition and reflects on nineteenth-century polar Gothic anxieties in the present day. Polar space creates an uncanny potential for seeing ones own self and examining what lies beneath the surface of ones own rational mind.
, J. ( 2015 ), ‘ Regimes of Posttruth, Postpolitics, and Attention Economies ’, Communication, Culture & Critique , 8 : 2 , 327 – 33 . Harvey , J. et al. ( 2017 ), ‘ Internet Blogs, Polar Bears, and Climate-Change Denial by Proxy ’, BioScience , 68 : 4 , 281 – 7 . Hayden , S. ( 2018 ), ‘ Tourist Trap ’, Newsweek , 13 April . Head , J. ( 2017 ), ‘ Myanmar Conflict: Fake Photos Inflame Tension ’, BBC News , www
acceptable compromise, and a perpetual reassessment of these issues across contexts and over time ( Table 1 ). Table 1 Mapping out security management approaches Overarching aim Orientation External Internal Confront threats via ‘deep’ transformation ‘Acceptance’ ‘Synthesis’ Confront threats via ‘shallow’ transformation ‘Deterrence’ ‘Decoupling’ Mitigate vulnerabilities ‘Protection’ ‘Risk management’ In this sense, ‘synthesis’ has a double meaning in that it also refers to the polar opposite
This book provides an introduction to French film studies. It concentrates on films which have had either a theatrical or video release in Britain, or which are available on video or DVD from France. Most avant-garde film-makers, including Germaine Dulac, were unable to continue in the 1930s, faced with the technical demands and high production costs of the sound film. Exacerbated by the Depression, and above all by the financial collapse of both Gaumont and Pathé, film production fell from 158 features the previous year to only 126 in 1934, and 115 in 1935. While poetic realism was at its height, a talismanic figure in post-war film was faced with a generally lukewarm reception from critics and audiences. Thanks largely to German finance and also to an influx of filmmakers replacing those who had departed, after 1940 French film. If 1968 marked a watershed in French cinema's engagement with politics and history 1974 did the same for representations of sexuality. In that year, pornography entered mainstream French cinema. Although film-making remains male-dominated in France as elsewhere, 'more women have taken an active part in French cinema than in any other national film industry'. A quarter of all French films made in 1981 were polars, and many of those were box-office successes. French fantasy has had a particular national outlet: the bande dessinée. The heritage film often takes its subject or source from the 'culturally respectable classicisms of literature, painting, music'.
This account of the life and films of the Spanish-Basque filmmaker Julio Medem is the first book in English on the internationally renowned writer-director of Vacas, La ardilla roja (Red Squirrel), Tierra, Los amantes del círculo polar (Lovers of the Arctic Circle), Lucía y el sexo (Sex and Lucía), La pelota vasca: la piel contra la piedra (Basque Ball) and Caótica Ana (Chaotic Ana). Initial chapters explore Medem's childhood, adolescence and education, and examine his earliest short films and critical writings against a background of a dramatically changing Spain. Later chapters provide accounts of the genesis, production and release of Medem's challenging and sensual films, which feed into analyses of their meanings, both political and personal, in which the author draws on traditions and innovations in Basque art, Spanish cinema and European philosophy to create a portrait of the director and his work.
Traditional histories and new approaches London lies about mid-way between the Arctic Circle and the north coast of Africa. Given the relative proximity of the Arctic to much of Britain, and British people’s fascination with ice and the polar regions, it is somewhat surprising to find that, beyond the confines of a small number of specialist polar
6 A question of love: Los amantes del Círculo Polar (1998) Spanish film audiences grew during the decade of the 1990s along with the number of private television channels and new cinemas, 982 of which had opened by its end (ICAA 2003). However, so did the average cost of film production, prompting Spanish companies to seek foreign investors and co-production partners with their sights on the pan-European multiplex audiences and the favours of such American distributors as Miramax and Fine Line. By the mid 1990s, however, an impending crisis in the Spanish film
processes. They create works which are in the main vastly positive; which alert us both to the extent of our powers and the individual and collective responsibility this confers. They touch on the extraordinary ability to effect change which is now in our grasp, alongside a wonder at the processes of nature and at ourselves, our place within them. Polar Diamond was created by Ackroyd & Harvey as a result of taking part in an expedition to the Arctic with Cape Farewell, an artistled campaigning organization.3 Cape Farewell’s expeditions bring together artists, scientists