8 On the reception of Foucault Allison Cavanagh and Alex Dennis Introduction Much of the energy devoted to ‘resolving’ the structure–agency ‘dispute’ derives from particular readings of sociology’s founding fathers: Durkheim, Marx and Weber. The contemporary dominance of theorists such as Bourdieu, Giddens and Habermas, however, did not emerge seamlessly. There was no smooth transition in Anglophone sociology between the ‘structuralist’ Marxism of the early 1970s – as filtered through Antonio Gramsci (by the Birmingham Centre for Contemporary Cultural Studies

in Human agents and social structures

159 9 Abandonment, reception and infant mortality Foundling hospitals and their attempts at rescuing illegitimate children can be said to have rested on three axioms. The first was that bastards, though subject to prejudice and social disapproval, had a right to life, both temporal and eternal, and that their murder was a heinous crime. The second was that, although the honour of a single mother and her family could not justify murder or exposure, it did justify the separation of base-born children from their blood parents, even from those who had the means to

in Tolerance, Regulation and Rescue

2 Reception, internment and repatriation, 1939–40 The Spanish republicans had their own name for the mass exodus of 1939: ‘la retirada’. Literally translated as ‘the retreat’, it refers to the Republican army’s rearguard action and the civilians’ flight from Catalonia. The term ‘retreat’ offers a different perspective to defeat. It embodies a transitory quality and the absence of conclusion: la retirada signalled an intention to return. In effect, both the refugees and French authorities perceived la retirada as the start of an intervening and temporary phase

in The routes to exile

11 Chaucer as Catholic child in nineteenth-century English reception Andrew Lynch ‘A Catholic, but not very keen’ In The Poet Chaucer, first published in 1949, Nevill Coghill applied to Chaucer’s religious outlook something once said to him by ‘a Swiss cathedral organist’: ‘“Oui, je suis catholique, mais pas très aigu”’ (‘Yes, I’m a Catholic, but not very keen’).1 Coghill’s comment may be said to reflect the mainstream view of Chaucer’s religion in critical reception throughout much of the twentieth century, picking up a mood that had been established by 1900

in Contemporary Chaucer across the centuries
The history of classical Mexican cinema and its scholarship

produce new, contestatory and specifically local ‘codes of reception’ of this culture rather than just passively imitate it (Appadurai, 1996 : 32). López, for example, has noted how early Latin American cinéastes sought to ‘indigenize’ the film vistas that came to them from Europe and the US by producing their own specifically Latin American styles and views (2001: 52). El automóvil gris figures as one such example of the

in Emilio Fernández
The highs and lows

des songes (1951). The lengthy list of Carné’s incomplete films also emphasises that, despite his successes, his career was not free from obstacles, whether financial or censorial. One of the ways that his trajectory contained highs and lows was through the changing critical reception of his work. While his films were initially highly acclaimed by the French critical establishment, his reputation was badly damaged in the 1950s by the

in Marcel Carné
Abstract only

What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).

Film Studies

This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.

Film Studies

This article addresses two questions about artworks. First, why do we emotionally respond to characters and stories that we believe are fictional? Second, why are some media better than others at generating specific types of emotions? I answer these questions using psychological research that suggests our minds are not unified, but are comprised of numerous subsystems that respond differently to various aspects of artworks. I then propose a framework to help us understand how films, videogames, and literature interact with our minds in different ways, which explains why they tend to excel at generating different types of emotions.

Film Studies
A Bibliographic Essay

Readers and critics alike, for the past sixty years, generally agree that Baldwin is a major African-American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, Baldwin’s work resists easy categorization and Baldwin scholarship, consequently, spans the critical horizon. This essay provides an overview of the three major periods of Baldwin scholarship. 1963–73 is a period that begins with the publication of The Fire Next Time and sees Baldwin grace the cover of Time magazine. This period ends with Time declaring Baldwin too passé to publish an interview with him and with critics questioning his relevance. The second period, 1974–87, finds critics attempting to rehabilitate Baldwin’s reputation and work, especially as scholars begin to codify the African-American literary canon in anthologies and American universities. Finally, scholarship in the period after Baldwin’s death takes the opportunity to challenge common assumptions and silences surrounding Baldwin’s work. Armed with the methodologies of cultural studies and the critical insights of queer theory, critics set the stage for the current Baldwin renaissance.

James Baldwin Review