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This is a comprehensive, original and accessible account of all
aspects of Jean Cocteau's work in the cinema. It is the first major
study in English to appear for over forty years and casts new light
on Cocteau's most celebrated films as well as those often neglected
or little known. Jean Cocteau is not only one of French cinema's
greatest and most influential auteurs whose work covered all the
major genres but also an experimenter, collaborator, theorist and
all-round ambassador of film. The often applied label of 'literary
filmmaker' is insufficient to describe Cocteau, who operates on so
many different levels and is interested in the fundamentals of
time, space, motion, speed and sound. This lucid account provides a
complete introduction to Cocteau's cinematic project in the context
of his entire oeuvre, detailed analysis of individual films like
'Le Sang d'un poete' and 'Orphee', and a thematic engagement with
all his cinema from a range of interdisciplinary approaches,
including film history, war and politics, authorship, collaboration
(in particular with Jean Marais), the body in performance, and
gender and sexuality. The Cocteau that emerges is at once a
materialist filmmaker and visionary who is committed to realism in
all its guises and reveals the wonder and mystery of what he called
'the cinematograph'. This clear and challenging new study will
appeal to first-year students, film-lovers and specialists alike.
It will also be of interest to those working in gay studies,
cultural studies, star studies and performance studies.
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Frantz Fanon
James S. Williams
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R402
R326
Discovery Miles 3 260
Save R76 (19%)
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Ships in 9 - 15 working days
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Doctor, militant, political essayist, ambassador, teacher,
journalist, pan-Africanist: Frantz Fanon represented a new model of
engaged intellectual who sought to decolonize mid-twentieth-century
thought, society and culture and move beyond the ideology of race.
Born Black in colonial Martinique, he fought for France during the
Second World War but later renounced his native land and aspired to
be Algerian during the Algerian War of Independence. Emphasizing
Fanon’s gift for self-invention and performance, Frantz Fanon
charts the key turning points in his short, extraordinary life and
explores how his pioneering work in psychiatry influenced his
revolutionary philosophy. It is essential reading for those who
wish to know more about this unique, visionary figure.
This exciting and original volume offers the first comprehensive
critical study of the recent profusion of European films and
television addressing sexual migration and seeking to capture the
lives and experiences of LGBTIQ+ migrants and refugees. Queering
the Migrant in Contemporary European Cinema argues that embodied
cinematic representations of the queer migrant, even if at times
highly ambivalent and contentious, constitute an urgent new
repertoire of queer subjectivities and socialities that serve to
undermine the patrolled borders of gender and sexuality, nationhood
and citizenship, and refigure or queer fixed notions and universals
of identity like 'Europe' and national belonging based on the model
of the family. At stake ethically and politically is the
elaboration of a 'transborder' consciousness and aesthetics that
counters the homonationalist, xenophobic and homo/trans-phobic
representation of the 'migrant to Europe' figure rooted in the
toxic binaries of othering (the good vs bad migrant, host vs guest,
indigenous vs foreigner). Bringing together 16 contributors working
in different national film traditions and embracing multiple
theoretical perspectives, this powerful and timely collection will
be of major interest to both specialists and students in Film and
Media Studies, Gender and Queer Studies, Migration/Mobility
Studies, Cultural Studies, and Aesthetics.
This exciting and original volume offers the first comprehensive
critical study of the recent profusion of European films and
television addressing sexual migration and seeking to capture the
lives and experiences of LGBTIQ+ migrants and refugees. Queering
the Migrant in Contemporary European Cinema argues that embodied
cinematic representations of the queer migrant, even if at times
highly ambivalent and contentious, constitute an urgent new
repertoire of queer subjectivities and socialities that serve to
undermine the patrolled borders of gender and sexuality, nationhood
and citizenship, and refigure or queer fixed notions and universals
of identity like 'Europe' and national belonging based on the model
of the family. At stake ethically and politically is the
elaboration of a 'transborder' consciousness and aesthetics that
counters the homonationalist, xenophobic and homo/trans-phobic
representation of the 'migrant to Europe' figure rooted in the
toxic binaries of othering (the good vs bad migrant, host vs guest,
indigenous vs foreigner). Bringing together 16 contributors working
in different national film traditions and embracing multiple
theoretical perspectives, this powerful and timely collection will
be of major interest to both specialists and students in Film and
Media Studies, Gender and Queer Studies, Migration/Mobility
Studies, Cultural Studies, and Aesthetics.
This book brings together for the first time five French directors
who have established themselves as among the most exciting and
significant working today: Bruno Dumont, Robert Guediguian, Laurent
Cantet, Abdellatif Kechiche, and Claire Denis. Whatever their
chosen habitats or shifting terrains, each of these highly
distinctive auteurs has developed unique strategies of
representation and framing that reflect a profound investment in
the geophysical world. The book proposes that we think about
cinematographic space in its many different forms simultaneously
(screenspace, landscape, narrative space, soundscape, spectatorial
space). Through a series of close and original readings of selected
films, it posits a new 'space of the cinematic subject'. Accessible
and wide-ranging, this volume opens up new areas of critical
enquiry in the expanding interdisciplinary field of space studies.
It will be of immediate interest to students and researchers
working not only in film studies and film philosophy, but also in
French/Francophone studies, postcolonial studies, gender and
cultural studies. Listen to James S. Williams speaking about his
book http://bit.ly/13xCGZN. (Copy and paste the link into your
browser) -- .
This book opens up the history of twentieth-century French cinema
from the silent era to the present day by exploring the key role of
gender and sexual politics. A much-needed sequel to Berg's
bestselling Gender and German Cinema, the volume tackles such
questions as:
- What role did the female voice play when sound cinema was first
developed?
- How have film genres and movements been shaped by gender and
sexual politics?
- How does gender intersect with factors of race, class, ethnic and
national identity?
The contributors also throw into relief broad issues such as the
evolution of film in the context of 20C French social, political
and cultural history.
Bringing together original essays by French, British and American
scholars, the collection fully covers the development of French
cinema. It addresses the work of individual auteurs, the French
star system, and film genres and movements such as Dada and
Surrealism, the New Wave and the New New Wave. It also focuses on
film narratives in which issues of gender are particularly
pertinent. The volume, which features illustrations, a filmography
and bibliography, will be one of the standard handbooks in French
cultural/film studies for some time to come.
This interdisciplinary book responds to the explosion of gay and
lesbian creativity on modern-day France. Rather than attempting to
formalize a specifically 'gay' or 'lesbian' style or identity, the
authors seek to open up new 'homotextualities, ' understood here as
ongoing constructions and deconstructions of both homosexuality and
its environments. They investigate the work of (among others)
Violette Leduc, Tony Duvert, Renaud Camus, and Guy Hocquenghem; the
cinema of Josiane Balasko and Cyril Collard; the theoretical
writings of Leo Bersani, Luce Irigaray, and Monique Wittig.
Employing a range of methods, authors re-evaluate and contest both
the literary and theoretical canon and establish new convergences
between French and Gay Studies, in particular, queer theory. This
book provides the first proper assessment of the usefulness of this
approach when dealing with a literary and cultural tradition
notoriously discreet about the very concept of a gay writer.
This interdisciplinary book responds to the explosion of gay and
lesbian creativity on modern-day France. Rather than attempting to
formalize a specifically 'gay' or 'lesbian' style or identity, the
authors seek to open up new 'homotextualities, ' understood here as
ongoing constructions and deconstructions of both homosexuality and
its environments. They investigate the work of (among others)
Violette Leduc, Tony Duvert, Renaud Camus, and Guy Hocquenghem; the
cinema of Josiane Balasko and Cyril Collard; the theoretical
writings of Leo Bersani, Luce Irigaray, and Monique Wittig.
Employing a range of methods, authors re-evaluate and contest both
the literary and theoretical canon and establish new convergences
between French and Gay Studies, in particular, queer theory. This
book provides the first proper assessment of the usefulness of this
approach when dealing with a literary and cultural tradition
notoriously discreet about the very concept of a gay writer.
Since the beginnings of African cinema, the realm of beauty on
screen has been treated with suspicion by directors and critics
alike. James S. Williams explores an exciting new generation of
African directors, including Abderrahmane Sissako, Mahamat-Saleh
Haroun, Fanta Regina Nacro, Alain Gomis, Newton I. Aduaka,
Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and
embrace the concept of cinematic beauty by not reducing it to
ideological critique or the old ideals of pan-Africanism. Locating
the aesthetic within a range of critical fields - the rupturing of
narrative spectacle and violence by montage, the archives of the
everyday in the 'afropolis', the plurivocal mysteries of sound and
language, male intimacy and desire, the borderzones of migration
and transcultural drift - this study reveals the possibility for
new, non-conceptual kinds of beauty in African cinema: abstract,
material, migrant, erotic, convulsive, queer. Through close
readings of key works such as Life on Earth (1998), The Night of
Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A
Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille
soleils (2013) and Timbuktu (2014), Williams argues that
contemporary African filmmakers are proposing propitious, ethical
forms of relationality and intersubjectivity. These stimulate new
modes of cultural resistance and transformation that serve to
redefine the transnational and the cosmopolitan as well as the very
notion of the political in postcolonial art cinema.
Winner of the 2020 R. Gapper Prize for the Best Book in French
Studies Since the beginnings of African cinema, the realm of beauty
on screen has been treated with suspicion by directors and critics
alike. James S. Williams explores an exciting new generation of
African directors, including Abderrahmane Sissako, Mahamat-Saleh
Haroun, Fanta Regina Nacro, Alain Gomis, Newton I. Aduaka,
Jean-Pierre Bekolo and Mati Diop, who have begun to reassess and
embrace the concept of cinematic beauty by not reducing it to
ideological critique or the old ideals of pan-Africanism. Locating
the aesthetic within a range of critical fields - the rupturing of
narrative spectacle and violence by montage, the archives of the
everyday in the 'afropolis', the plurivocal mysteries of sound and
language, male intimacy and desire, the borderzones of migration
and transcultural drift - this study reveals the possibility for
new, non-conceptual kinds of beauty in African cinema: abstract,
material, migrant, erotic, convulsive, queer. Through close
readings of key works such as Life on Earth (1998), The Night of
Truth (2004), Bamako (2006), Daratt (Dry Season) (2006), A
Screaming Man (2010), Tey (Today) (2012), The Pirogue (2012), Mille
soleils (2013) and Timbuktu (2014), Williams argues that
contemporary African filmmakers are proposing propitious, ethical
forms of relationality and intersubjectivity. These stimulate new
modes of cultural resistance and transformation that serve to
redefine the transnational and the cosmopolitan as well as the very
notion of the political in postcolonial art cinema.
The MRS Symposium Proceeding series is an internationally
recognised reference suitable for researchers and practitioners.
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