Nationalism and the Cinema in France: Political Mythologies and Film Events, 1945-1995, Hugo Frey
Автор: Richard A. Gordon Название: Cinema, Slavery, and Brazilian Nationalism ISBN: 147730987X ISBN-13(EAN): 9781477309872 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 3380.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
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A unique contribution to film studies, Richard Gordon’s Cinema, Slavery, and Brazilian Nationalism is the first full-length book on Brazilian films about slavery. By studying Brazilian films released between 1976 and 2005, Gordon examines how the films both define the national community and influence viewer understandings of Brazilianness. Though the films he examines span decades, they all communicate their revised version of Brazilian national identity through a cinematic strategy with a dual aim: to upset ingrained ways of thinking about Brazil and to persuade those who watch the films to accept a new way of understanding their national community.
By examining patterns in this heterogeneous group of films, Gordon proposes a new way of delineating how these films attempt to communicate with and change the minds of audience members. Gordon outlines five key aspects that each film incorporates, which describe their shared formula for and role in constructing social identity. These elements include the ways in which the films attempt to create links between the past and the viewers’ present and their methods of encouraging viewers to identify with their protagonists, who are often cast as a prototype for the nation. By aligning themselves with this figure, viewers arrive at a definition of their national identity that, while Afrocentric, also promotes racial and ethnic inclusiveness. Gordon’s innovative analysis transcends the context of his work, and his conclusions can be applied to questions of national identity and film across cultures.
In the first half of the twentieth century, many writers and artists turnedto the art and received example of the Elizabethans as a means ofarticulating an emphatic (and anti-Victorian) modernity. By the middleof that century, this cultural neo-Elizabethanism had become absorbedwithin a broader mainstream discourse of national identity, heritage andcultural performance. Taking strength from the Coronation of a new, youngQueen named Elizabeth, the New Elizabethanism of the 1950s heralded anation that would now see its 'modern', televised monarch preside over animminently glorious and artistic age.This book provides the first in-depth investigation of New Elizabethanismand its legacy. With contributions from leading cultural practitioners andscholars, its essays explore New Elizabethanism as variously manifestin ballet and opera, the Coronation broadcast and festivities, nationalhistoriography and myth, the idea of the 'Young Elizabethan', celebrations ofair travel and new technologies, and the New Shakespeareanism of theatreand television. As these essays expose, New Elizabethanism was muchmore than a brief moment of optimistic hyperbole. Indeed, from moderndrama and film to the reinternment of Richard III, from the London Olympicsto the funeral of Margaret Thatcher, it continues to pervade contemporaryartistic expression, politics, and key moments of national pageantry.
Автор: Burch Noel Название: Battle of the Sexes in French Cinema, 1930 1956 ISBN: 0822355612 ISBN-13(EAN): 9780822355618 Издательство: Wiley EDC Рейтинг: Цена: 4117.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
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In The Battle of the Sexes in French Cinema, 1930–1956, Noël Burch and Geneviève Sellier adopt a sociocultural approach to films made in France before, during, and after World War II, paying particular attention to the Occupation years (1940–44). The authors contend that the films produced from the 1930s until 1956—when the state began to subsidize the movie industry, facilitating the emergence of an "auteur cinema"—are important, both as historical texts and as sources of entertainment.
Citing more than 300 films and providing many in-depth interpretations, Burch and Sellier argue that films made in France between 1930 and 1956 created a national imaginary that equated masculinity with French identity. They track the changing representations of masculinity, explaining how the strong patriarch who saved fallen or troubled women from themselves in prewar films gave way to the impotent, unworthy, or incapable father figure of the Occupation. After the Liberation, the patriarch reemerged as protector and provider alongside assertive women who figured as threats not only to themselves but to society as a whole.
Автор: Frey Hugo Название: Nationalism and the Cinema in France ISBN: 1782383654 ISBN-13(EAN): 9781782383659 Издательство: Berghahn Рейтинг: Цена: 16988.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
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It is often taken for granted that French cinema is intimately connected to the nation’s sense of identity and self-confidence. But what do we really know about that relationship? What are the nuances, insider codes, and hidden history of the alignment between cinema and nationalism? Hugo Frey suggests that the concepts of the ‘political myth’ and ‘the film event’ are the essential theoretical reference points for unlocking film history. Nationalism and the Cinema in France offers new arguments regarding those connections in the French case, examining national elitism, neo-colonialism, and other exclusionary discourses, as well as discussing for the first time the subculture of cinema around the extreme right Front National. Key works from directors such as Michel Audiard, Jean-Luc Godard, Jean-Pierre Melville, Marcel Pagnol, Jean Renoir, Jacques Tati, Fran?ois Truffaut, and others provide a rich body of evidence.
Автор: Costas Constandinides, Yiannis Papadakis Название: Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe ISBN: 1501319965 ISBN-13(EAN): 9781501319969 Издательство: Bloomsbury Academic Рейтинг: Цена: 6018.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Cyprus, the idyllic “island of Aphrodite,” is better known as a site of conflict and division between Greek Cypriots and Turkish Cypriots, rather than for its film production. Constandinides and Papadakis work to rectify this dearth of information by discussing the ouevre of filmmakers engaging with the island's traumatic legacies: anti-colonial struggles, post-colonial instability, interethnic conflict, external interventions and war. Starting with the cinema of the 1960s, when the island became a republic, the collection focuses on the recent decades of filmmakers exploring issues of conflict, memory, identity, nationalism, migration and gender, as well as the work of filmmakers who chose to cooperate across the ethnic divide. Cypriot Cinemas utilizes a methodology that engages all necessary perspectives for an illuminating critical discussion: historical, theoretical and comparative (Greek Cypriot and Turkish Cypriot films in relation to regional film cultures/practices). While the volume develops a discussion based on the reading of the political in Cypriot films, it also looks at other film cultures and debates such as (s)exploitation films and transnational cinema.
History education, by nature, transmits an 'official' version of national identity. National identity is not a fixed entity, and controversy over history teaching is an essential part of the process of redefining and regenerating the nation. France and the United States have in particular experienced demographic and cultural shifts since the 1960s that have resulted in intense debates over national identity. This volume examines how each country's national history is represented in primary schools' social studies textbooks and curricula, and how they handle contemporary issues of ethnicity, diversity, gender, socio-economic inequality, and patriotism. By analyzing each country separately and comparatively, it demonstrates how various groups (including academics, politicians and citizen activists) have influenced education, and how the process of writing and rewriting history perpetuates a nation.
Drawing on empirical studies of the United States and France, this volume provides insight into broader nationalist processes and instructive principles for similar countries in the modern world.
In Borders among Activists, Sarah S. Stroup challenges the notion that political activism has gone beyond borders and created a global or transnational civil society. Instead, at the most globally active, purportedly cosmopolitan groups in the world—international nongovernmental organizations (INGOs)—organizational practices are deeply tied to national environments, creating great diversity in the way these groups organize themselves, engage in advocacy, and deliver services.
Stroup offers detailed profiles of these "varieties of activism" in the United States, Britain, and France. These three countries are the most popular bases for INGOs, but each provides a very different environment for charitable organizations due to differences in legal regulations, political opportunities, resources, and patterns of social networks. Stroup's comparisons of leading American, British, and French INGOs—Care, Oxfam, M?decins sans Fronti?res, Human Rights Watch, Amnesty International, and FIDH—reveal strong national patterns in INGO practices, including advocacy, fund-raising, and professionalization. These differences are quite pronounced among INGOs in the humanitarian relief sector, and are observable, though less marked, among human rights INGOs.
Stroup finds that national origin helps account for variation in the "transnational advocacy networks" that have received so much attention in international relations. For practitioners, national origin offers an alternative explanation for the frequently lamented failures of INGOs in the field: INGOs are not inherently dysfunctional, but instead remain disconnected because of their strong roots in very different national environments.
Описание: The way the historical genre has developed in Romania provides background on both audience reception and the politics of re-enactment in popular cinema. This is the first time that English-speaking readers have gained access to a comprehensive selection of fiction films set in the Romanian past.
Автор: Mccann, Dr. Ben Название: Ripping open the set ISBN: 3039103113 ISBN-13(EAN): 9783039103119 Издательство: Peter Lang Рейтинг: Цена: 11454.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: French film design throughout the 1930s was a period of `ripping open` film sets to make them not just descriptive, but also expressive. This book details the elaborate paraphrasing tendencies of French film design in the period, exploring the crucial role of the set designer in the film`s evolutionary process.
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