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.
Backstage versus frontstage politics in the European Parliament
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 workingpractices of MEPs and EP officials? Or, to turn the question around, how does re-conceptualising politics enable us to simultaneously
The chapter explores these general questions through the making of three
Yet what there is here should be enough to introduce the workingpractices 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
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 workingpractices in Germany, demonstrating the negotiated and
mediated nature of reforms.
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 workingpractices 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
chartplotter (Figure 11).
Wullie’s Peak is one of many places that are part of trawler fishermen’s workingpractices 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
From Wullie’s Peak to the Burma
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
Audiard’s border-crossing filmmaking, his oscillations between
(and reworkings of) auteur and genre cinema, his collaborative
workingpractices, 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
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 workingpractices
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
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 workingpractices as a director, drawing on his own writing about his film-making.
The chapter thus serves as a general introduction and provides a framework
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 workingpractices 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