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Author: Sue Harris

Whether one 'likes' his work or not, Bertrand Blier is undisputably an important and influential presence in modern French film-making. For those who would understand the nature and function of popular French culture, it has now become impossible to ignore his work. Blier's career began in 1957 as an assistant stagiaire, as it was still relatively conventional in the French film-making tradition. This book hopes to be able to start formulating some answers to the puzzle that is Blier's work. The aim is to identify strategies for finding one's way through a body of work, which has disconcerted spectators, to identify some reference points that the curious spectator can use as a map to navigate through Blier's preferred themes and stylistic techniques. One way of understanding the system of dramatic cohesion that unifies the action of Blier's films is to read it in terms of an 'absurdist' conception. The comic momentum of Blier's films relies on the elaboration of a system of images which might be termed 'festive-ludic' or 'anarchocomic'. His deliberate attempt to go beyond the conventional limits of gender representation is as important example of the many processes of narrative subversion. Discussions reveal that the key tropes around which Blier's work is structured point to an engagement with a tradition of popular discourse, translated into both content and form, which finds an echo in the wider cultural apparatus of the post-1968 period and which is all the more significant for its location in mainstream visual culture.

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Sue Harris

culturally marginalised traditions which have their own aesthetic and historical value. The discussion will reveal that the key tropes around which Blier’s work is structured point to an engagement with a tradition of popular discourse, here translated into both content and form, which finds an echo in the wider cultural apparatus of the post-1968 period, and which is all the more significant for its location in mainstream visual

in Bertrand Blier
Open Access (free)
Nina Fishman

). It will be fascinating to see whether in the next twenty years or so the SPD is able to adjust to having a significant party on its left. If it is unable to do so, then the Christian Democrats, as presently constituted, will swiftly step in to occupy the centre ground. Social democracy baulked? The majority of the conference papers focused on the post-1968 period. The analyses by Tsarouhas, Clift and Kennedy of social democratic governments’ performance in Sweden, France and Spain show significant achievements and advances in expanding social provision and civil

in In search of social democracy
Questioning gender roles
Brigitte Rollet

, contraception, abortion or rape. Though women have not always chosen fiction to express their desires and wishes for change, in the post-1968 period, some women filmmakers were putting ‘fiction to the service of the feminist cause’, to take up the phrase used of Agnès Varda’s film L’Une chante, l’autre pas (1976). Une femme et un bébé: Coline Serreau and motherhood An interesting aspect of Serreau’s work, apart from the strong emphasis on family from her debut onwards, is the fact that after choosing a cinematographic genre

in Coline Serreau
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Becky Taylor

offices and the National Archives, however, hold substantial material on the post-1968 period, and offer a rich and unexplored opportunity for a historian wishing to study these years. A further challenge of the research has been to surmount the difficulty of using written sources when investigating traditionally orally-based communities. The bulk of archival material has been written about Travellers and not by them, although this is slowly being counter-balanced by publications and discussions from within travelling communities. There remains the fact that anyone

in A minority and the state
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Towards a ‘tolerable state of order’?
Thomas R. Seitz

analysis The post-1968 period in American security assistance policy was characterized by the very traits criticized by Krause, Ayoob, and other scholars cited in the introduction. Under Nixon and his successors US security assistance policies emphasized keeping recipient regimes in power with little regard for the internal political conditions of their states. However, as the preceding chapters have shown, these post-1968 policies stand in contrast to the containment policies of Nixon’s predecessors. Lest recent events by their proximity obscure those more distant, we

in The evolving role of nation-building in US foreign policy
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Why use political phenomenology to analyse war reporting?
Tim Markham

or impermanence. Cultural producers such as journalists do not simply define what counts as valuable, but act so as to ‘shore up’ their insecure position in the relations of cultural capital. Wright (2005) argues that it is necessary to view the relation between cultural production and reception not as immediate, but rather as mediated by a complex set of factors which operate beyond instrumental strategy. It is these rationalising processes that underpin the commodification of news in the post-1968 period, as Bourdieu (1994b: 39) summarises in a commentary on the

in The politics of war reporting
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Bernadette C. Hayes and Ian McAllister

greater extent over the period of the surveys in comparison to national identity. Moreover, during the post-1968 period, there have been numerous attempts at political compromise, major changes in the party system with consequent changes in party fortunes and other political changes which should have complicated perceptions of political identity. 2 Across the population, a majority regard themselves as

in Conflict to peace
Martin O’Shaughnessy

gain access to areas of experience closed off to him, his films might seem to resemble documentaries. However, because the cast are playing, not themselves, but someone whose social role is close to theirs, they are free to develop their role more fully. Cantet describes his work with the cast of Entre les murs in just this way: ‘Ils étaient protégés par leur personnages et pouvaient se lâcher davantage que dans un documentaire où chaque mot peut se retourner contre vous’ (Burdeau and Thirion, 2008: 17).11 In the post-1968 period, one of the key tasks that emerged as

in Laurent Cantet
Phil Powrie

political scepticism in the post-1968 period, as had occurred in the 1930s, with the rise of fascism, the collapse of left-wing dreams with the end of the Popular Front, and the approach of war. The same post-1936 scepticism pervades this post-68 period; it is a scepticism that complicates simplistic and self-righteous conspiracy theory. The message, written on Trintignant’s face with its hang-dog expression occasionally lightened

in European film noir