Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.
Swimming ... Floating ... Sinking ... Drowning
The body in the swimming pool as metonym for trouble in paradise is a recurrent motif bordering on cliché in Hollywood/West Coast sunshine noir. Through an intermedial survey of film, TV and literary fiction, photography, design and architectural history, crime and environmental, reportage, public health and safety documents this article examines the domestic swimming pools ambiguous status as a symbol of realised utopia within the Californian mythos from the boom years of the backyard oasis in the wake of the Second World War to the era of mass foreclosures, restricted water usage and ambient dread inaugurated by 9/11, the global recession and the severest drought in the states recorded rainfall history.
. There was just one problem: the video wasn’t real. It was the creation of 34-year-old director Lars Klevberg, and it was filmed in Malta with child actors, using a set from the movie Gladiator . Klevberg said he wanted the video to start a conversation about the impact of war on children. Critics said he had gone too far: that the video created confusion and cynicism, which undermined attempts to address conflict in Syria ( Salyer, 2014 ). ‘Syrian hero boy’ was not an isolated incident. When audiences look online for information about humanitarian
Cinema, documentary, and the visual arts
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.
The worker photography movement and the New Vision in America
’s photographs, capturing mass demonstrations and brutal police responses from the perspective of the worker in the middle of the crowd, unlike the press photographers who generally observed events from behind police lines. Seltzer’s account of his still photography was brusque – indicating that he viewed it as less important than his film work. His role as the main League photographer began when he arrived to mend some wiring at the headquarters: For a few months I had a camera and was doing still photography. We used to cover all sorts of demonstrations and whatever was
collaborated with him at various times, namely: Lucebert (poetry and painting); Remco Campert and Bert Schierbeek (poetry); Van der Elsken (film and photography); and Willem Breuker (music). As this reference to Breuker and Van der Elsken suggests, jazz– e specially, free jazz– s haped Van der Keuken’s artistic development. His Big Ben/Ben Webster in Europe (1967, b&w, 31 min.), for example, was one of his own favourite films, and he (with his wife, the filmmaker and sound editor, Noshka van der Lely) often created soundtracks comprising a distinctive admixture of
Parameters of Jewish identity
cemeteries and daubing of graffiti on tombstones (Friedlander 1995). The situation by 1990 was seen as so concerning that, after swastikas were drawn on thirty-four graves in a Jewish cemetery in Carpentras in May that year (and one corpse was exhumed and impaled), all five French national terrestrial television channels simultaneously screened Alain Resnais’ landmark film on the Holocaust, Nuit et brouillard (1956) in an attempt to stem the tide of anti-Semitism (Fysh and Wolfreys 2003: 68). The 1990s saw France begin to come to terms more profoundly with its role in the
Film, photography and the former coalfields
Katy Bennett and Richard Lee
its regeneration programme. Looking on with a mixture of horror, terror, understanding and pride are his son and grandson. Unlike other parts of the film, the concluding scene is not based on the actual experiences of the local residents involved in its production. When asked about its ending of Like Father , the Amber Film and Photography Collective said
was directed by a former fashion photographer called Just Jaeckin. The plot – the sexual initiation of a French woman in Bangkok – was merely a premise for glossy softporn photography. Playing to packed houses in cinemas usually given over to mainstream hits, Emmanuelle eventually became the bestattended French film of the decade, attracting nearly nine million spectators. Its phenomenal success legitimised the porn film
another. Films had to look good, and the establishment of mood through fine photography and lighting was essential to the visual pleasure that was part of movie-going. But audiences were much more interested in the stories, the characters, and the stars than in the subtleties of framing, editing and scene dissection, and the truth is that those aspects of filmmaking passed wholly unnoticed. They were invisible