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Author: Barry Jordan

Alejandro Amenábar has made only five main features over a 15-year period from 1995 to 2009. In 1995 he abandoned his Film Studies degree at Madrid's Complutense University in order to shoot Tesis (Thesis), his first feature. This book contains a brief biographical profile of Amenábar, but the main focus is a detailed analysis of his shorts, and the ways in which a set of templates and devices (stylistic, narrative and thematic) begin to emerge from them, as well as a series of working practices. It then provides detailed accounts of Amenábar's five feature films to date: Tesis, Abre los ojos, The Others, Mar adentro, and Ágora. Though the approaches adopted and the menu of topics vary in each chapter, the book seeks to combine important aspects of contextual information (historical, social, industrial) with detailed production and reception notes. It pays close attention to aspects of film form and style (e.g. the interplay in Tesis between classical Hollywood narration and 'art film narration'). The book explores the ways in which Amenábar appears to conduct experiments in generic hybridity to create a personal, auteur cinema which satisfies his cinephilia as well as his desire for ambiguity and profundity. At the same time, it demonstrates his commitment to the tastes and pleasures of film audiences. The study presented is guided in large part by questions already raised in scholarly writings on Amenábar, as well as other issues and evidence which have subsequently emerged.

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Backstage versus frontstage politics in the European Parliament
Ruth Wodak

European Parliament (EP) which often seem to take politics’ very definition for granted. In this chapter, and in line with this book’s general agenda to ­re-imagine Europe and its Union from within an inclusive ontology,2 I ask what are the consequences for our conceptualisation and study of politics – and hence of the working practices of MEPs and EP officials? Or, to turn the question around, how does re-conceptualising politics enable us to simultaneously re-conceptualise Europe? The chapter explores these general questions through the making of three analytical

in Governing Europe’s spaces
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Roger Singleton-Turner

not discussed. Yet what there is here should be enough to introduce the working practices of multi-camera studios. The content is based on my own observations and experience both of those practices and what newcomers to them generally seem to find useful. The technology is developing fast and I would expect many changes to conventions and practices and to what is possible and affordable over the next few years. The ‘History’ sections show, in part, how much things have changed. You can expect to see as much change in your

in Cue and Cut
The restructuring of work in Germany
Louise Amoore

problematises the dominant modes of thought that see Germany either as ‘squeezed’ by global forces on to convergent neo-liberal lines, or as directly opposing neoliberal restructuring, hence always either neo-liberal or non-neo-liberal. I then go on to explore the historical institutions and practices of state, capital and labour in Germany that have made possible particular contemporary programmes of restructuring. Finally, I discuss the contemporary restructuring of working practices in Germany, demonstrating the negotiated and mediated nature of reforms. ‘Modell

in Globalisation contested
John Williamson and Martin Cloonan

number of momentous events in the Union’s history, which were condensed into a decade during which it was able to take full advantage of favourable external conditions to consolidate its own power. The period 1945–55 marked a high point in terms of its industrial leverage, but also left a formidable legacy in terms of the working practices that emerged and that the recording and broadcasting industries would find almost impossible to alter for decades to come. The successes were largely derived from the huge increase in membership in the period, which in turn resulted

in Players’ work time
Naming places at sea
Penny McCall Howard

chartplotter (Figure 11). Wullie’s Peak is one of many places that are part of trawler fishermen’s working practices and everyday conversations, yet are completely invisible from the sea’s surface and not related to any place on shore. Many of these places are the 5 55 From Wullie’s Peak to the Burma 55 Figure 11  Wullie’s Peak on the GPS chartplotter, on the right-​hand side about halfway up. The coloured lines are the GPS-​plotted traces made by the trawler while it was towing. Circles, crosses, triangles or hatched areas represent obstacles on the seafloor. Numbers

in Environment, labour and capitalism at sea
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Gemma King

Audiard’s border-crossing filmmaking, his oscillations between (and reworkings of) auteur and genre cinema, his collaborative working practices, his French heritage and international movements, before moving on to three analysis chapters: ‘Body’, ‘Society’ and ‘Globe’, which delve deeper into how this eternal border-crossing manifests in, and defines, his films themselves

in Jacques Audiard
Stephen Lacey

underpinnings of popular genres constrict the engagement with a wider politics, institutional dramas offer a considerable potential for realism. It is, then, on the territory of generic drama that Garnett’s engagement with the forms and politics of social realism can be most easily found. New technologies: new working practices Garnett’s decision to work primarily within the series form was also connected to his long-standing interest in putting new technology at the service of a political aesthetic. Between the Lines was made on film; however, the next major series, Cardiac

in Tony Garnett
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Diana Holmes and Robert Ingram

initial discussion of critical evaluations of his work is followed by a brief examination of some of the ways in which the films can be grouped and categorised. This leads into a chronological review of the body of work which foregrounds the main themes and discusses Truffaut’s working practices as a director, drawing on his own writing about his film-making. The chapter thus serves as a general introduction and provides a framework

in François Truffaut
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Hincmar’s world
Rachel Stone

aspects of Hincmar’s life and work. Perhaps more important, however, is what the connections between the chapters show us about Hincmar and his society. Readers are likely to be struck by a number of recurring themes: this introduction will highlight a few. Firstly, discussions of surviving manuscripts (and their copies) show how Hincmar used the same working practices across many different types of text: the same note marks appear in the polyptych of St-Remi as in manuscripts where Hincmar was highlighting key theological or legal passages. 179 Corcoran suggests

in Hincmar of Rheims