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Lynn Anthony Higgins

protagonists whose primary occupation lies elsewhere enjoy an artistic hobby. In L.627 , Lucien (Lulu), chief of a police narcotics squad, makes home movies in his spare time; Daniel Lefebvre of Ça commence aujourd’hui teaches small children by day and writes poetry in the evening. Regent Philippe d’Orléans in Que la fête commence , like his historical model, is an accomplished musician. This chapter will focus on Tavernier’s portraits of professional artists. Des enfants gâtés gives us Bernard Rougerie, a middle-aged scriptwriter

in Bertrand Tavernier
Giuliana Pieri

10 Portraits of the Duce Giuliana Pieri Francesco Sapori, in his 1932 L’arte e il Duce, asserted the importance of art for the Fascist regime: ‘As Benito Mussolini claimed in Campidoglio on 24 May 1924, “I don’t think the terms Italy and art are separable”. … Invested with the supreme political authority, his [Mussolini’s] moral law is that of the Roman citizen: he creates the state every day. Hence he respects all creators: he is an artist and an art patron.’1 Despite the hyperbole of his prose, Sapori did rightly stress the regime’s and Mussolini’s personal

in The cult of the Duce
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Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d’abord
Marja Warehime

family portraits i 67 4 Family portraits I: Nous ne vieillirons pas ensemble, La Gueule ouverte and Passe ton bac d’abord It would certainly be valid to study Pialat’s films in a variety of different combinations, to consider L’Enfance nue, Nous ne vieillirons pas ensemble and La Gueule ouverte as an autobiographical triptych stretching from childhood to maturity, for example – or to group together La Gueule ouverte, Passe ton bac d’abord and A nos amours as three variations on the theme of the breakdown of the family unit. However, I have adopted a strictly

in Maurice Pialat
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Loulou, A nos amours and Police
Marja Warehime

family portraits ii 95 5 Family portraits II: Loulou, A nos amours and Police Loulou Although Pialat began work on Loulou almost immediately after finishing Passe ton bac d’abord, the real events that inspired it took place almost ten years earlier. The scenario for Loulou, written by Arlette Langmann, was based on the break-up of her relationship with Pialat over her affair with ‘Dédé’, who had been involved in the production of La Maison des bois. Langmann kept only the kernel of the story, fictionalising the circumstances of the relationship while attempting

in Maurice Pialat
Elisabeth Bronfen

beautiful woman’s dead body treated like a materialized image or auto-icon, I will now turn to narratives where the equation of corpse with artwork means a translation or exchange that erases rather than preserves the body; to narratives of portraits which substitute for dead bodies, and which, as representations of representations, are twice removed from their object of reference

in Over her dead body
Bryan S. Turner

10 Edward Shils and his Portraits Bryan S. Turner Like most people, I am constitutionally contradictory. As a student I heard Victor Gollancz give a lecture that began, ‘I am a vegetarian and I eat meat every day.’ That’s also my problem – systemic contradiction. On the one hand, it strikes me as essential, if we are to understand an author and their works, to place them in their social and historical setting. The implication is that where and when you are born determines the brilliance of the particular author. Without the context, can we ever understand the

in The calling of social thought
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Edward Melcarth and homoeroticism in modern American art
Barry Reay
Erin Griffey

2 Sexual portraits: Edward Melcarth and homoeroticism in modern American art with Erin Griffey The metaphor of the closet pervades historical interpretations of American art just as it pervades other cultural readings. In this peculiar way of seeing the past, the art historian’s role is to reveal concealed meanings, to make the ‘silenced gay self ’ speak, as Gavin Butt has expressed it.1 ‘Modes of disclosure: the construction of gay identity and the rise of Pop Art’, the title of Kenneth Silver’s early 1990s essay on American art in the late 1950s and early

in Sex in the archives
An interview with Robyn Asleson
Bénédicte Miyamoto
Marie Ruiz

Date of interview: 4 October 2018 What is the cultural relevance of mediating the experience of migration to the world at large? Recent exhibitions have focused on this highly topical theme, and have capitalised on how art makes accessible this experience of both roots and loss. While structural forces have largely cast migration as disruptive, and constructed the migration experience as an anomaly, the modern museum experience often highlights that it is in fact a long-standing human phenomenon. The Smithsonian’s National Portrait Gallery in Washington DC

in Art and migration
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

values and present us with perspectives which are far from obsolete. Ocaña. Retrat Intermitent/Ocaña. An Intermittent Portrait, directed by Catalan filmmaker Ventura Pons in 1977 – that is, at the height of the Barcelona movida sometimes referred to as the llibertari – is highly representative of the impulse for renewal in Transition cinema and the attempt to document the new social reality: a

in Spanish cinema 1973–2010
The Dalziel Archive and Victorian illustration

The Wood Engravers’ Self-Portrait focuses on the Dalziel Brothers, the leading image-makers of Victorian Britain. It is the first major study of the Dalziels, combining expert archival research with a radical methodology: it incorporates detailed examination of printmaking techniques, a focus on word–image relations in illustration, and a creative-critical approach to theory. Between 1839 and 1893, Dalziel Brothers made around 54,000 illustrations. These range from works of global influence – such as the illustrations to Lewis Carroll’s Alice books, novels by Charles Dickens, and landmark Pre-Raphaelite prints – to intricate and fascinating unknown works, ranging from brilliant scientific illustrations to keep-fit diagrams and Cadbury’s advertisements. The Wood Engravers’ Self-Portrait tells the multifarious stories of the Dalziel artists and employees; these were discovered by Stevens during an AHRC-funded fellowship, in partnership with the British Museum, where she catalogued the Dalziels’ unique archive for the first time. This book is the culmination of knowledge gathered through this project. As well as exploring the Dalziel family and the works they made, this study addresses the challenges of uncovering and understanding creative work made by low-paid and supposedly mechanical artists (such as the precarious freelance engravers hired by Dalziel). It investigates the image firm’s role in shaping aspects of Victorian culture that continue to have a strong and ambivalent legacy, from the fast and wide circulation of wood engravings to the visualisation of gendered and imperialist texts. It proposes a widely applicable theoretical framework for the study of mass print culture and word-image relations.