Featuring a lineup of distinguished academics, this collection remedies the absence of scholarly attention to French cinematic legend Isabelle Huppert. This volume deconstructs Huppert’s star persona and public profile through critical and theoretical analysis of her various screen roles—from her very early appearances alongside Romy Schneider in César et Rosalie (Sautet, 1972) and Gérard Depardieu in Les Valseuses (1974) to a number of celebrated collaborations with high-profile European auteurs such as Catherine Breillat, Claire Denis, Jean-Luc Godard, Michael Haneke and Joseph Losey, and with more popular auteurs such as Claude Chabrol and François Ozon. Known for a cerebral internalization of characterization, a technical mastery of extreme emotions, and a singular brand of icy intellectualism, Huppert’s performances continue to impress, stun and surprise audiences. By focusing on several theoretical questions that relate to image, identity, sexuality and place, this volume situates Huppert’s star persona in the more practical creative contexts of performance, authorship, genre and collaboration. This volume contrasts complementary critical accounts of her stardom by working across the different periods and territories of her career.

This new study questions whether peacekeeping fundamentally changed between the Cold War and Post-Cold War periods. Focusing on contrasting case studies of the Congo, Cyprus, Somalia and Angola, as well as more recent operations in Sierra Leone and East Timor, it probes new evidence with clarity and rigour. The authors conclude that most peacekeeping operations - whether in the Cold War or Post-Cold War periods - were flawed due to the failure of the UN member states to agree upon achievable objectives, the precise nature of the operations and provision of the necessary resources, and unrealistic post-1989 expectations that UN peacekeeping operations could be adapted to the changed international circumstances. The study concludes by looking at the Brahimi reforms, questions whether these are realistically achievable and looks at their impact on contemporary peace operations in Sierra Leone, East Timor and elsewhere.

This new study questions whether peacekeeping fundamentally changed between the Cold War and Post-Cold War periods.

Focusing on contrasting case studies of the Congo, Cyprus, Somalia and Angola, as well as more recent operations in Sierra Leone and East Timor, it probes new evidence with clarity and rigour.

The authors conclude that most peacekeeping operations - whether in the Cold War or Post-Cold War periods - were flawed due to the failure of the UN member states to agree upon achievable objectives, the precise nature of the operations and provision of the necessary resources, and unrealistic post-1989 expectations that UN peacekeeping operations could be adapted to the changed international circumstances. The study concludes by looking at the Brahimi reforms, questions whether these are realistically achievable and looks at their impact on contemporary peace operations in Sierra Leone, East Timor and elsewhere.

Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.

This book looks at queer self-representation in contemporary auteur film and experimental video in France. French Queer Cinema addresses the socio-political context informing both queer DIY video and independent gay cinema, including films such as Patrice Chereau's Ceux qui m'aiment prendront le train, Olivier Ducastel and Jacques Martineau's Drole de Felix, Francois Ozon's Le Temps qui reste and Andre Techine's Les Temoins. Taking up the recent Anglo-American attention to queer migration, the book looks at gay fantasies of Arab (beur) men, as well as beur self-representation in Europe's fastest-selling gay DV porn production Citebeur. Further chapters cover transgender dissent, and the effects of AIDS and loss on the formation of gay identities. It provides a full, up-to-date account of the formation, reception and setting for contemporary queer film and video in France. It situates cinematic representations of migration, social exclusion and queer sexualities in the context of recent repressive legislation on sex work and immigration. It covers the work of less well-known directors such as Christophe Honore, Sebastien Lifshitz and Gael Morel.

French Queer Cinema looks at queer self-representation in contemporary auteur film and experimental video in France. Whilst there is growing research on representations of queer sexualities in France, this is the first comprehensive study of the cultural formation and critical reception of contemporary queer film and video. French Queer Cinema addresses the socio-political context informing both queer DIY video and independent gay cinema, including films such as Patrice Chereau's Ceux qui m'aiment prendront le train, Olivier Ducastel and Jacques Martineau's Drole de Felix, Francois Ozon's Le Temps qui reste and Andre Techine's Les Temoins. Taking up the recent Anglo-American attention to queer migration, the book looks at gay fantasies of Arab (beur) men, as well as beur self-representation in Europe's fastest-selling gay DV porn production Citebeur. Further chapters cover transgender dissent, and the effects of AIDS and loss on the formation of gay identities. Key Features *Provides a full, up-to-date account of the formation, reception and setting for contemporary queer film and video in France. *Situates cinematic representations of migration, social exclusion and queer sexualities in the context of recent repressive legislation on sex work and immigration. *Covers the work of less well-known directors such as Christophe Honore, Sebastien Lifshitz and Gael Morel.

Few European male actors have been as iconic and influential for generations of filmgoers as Alain Delon. Emblematic of a modern, European masculinity, Delon's appeal spanned cultures and continents. From his breakthrough as the first on-screen Tom Ripley in Purple Noon in 1960, through two legendary performances in Rocco and His Brothers and The Leopard in the early 1960s, to his roles in some of Jean-Pierre Melville's most celebrated films noirs, Delon came to embody the flair and stylishness of the European thriller as one of France's most recognizable film stars. This collection examines the star's career, image and persona. Not only focusing on his spectacular early performances, the book also considers less well documented aspects of Delon's long career such as his time in Hollywood, his work as director, producer and screenwriter, his musical collaborations, his TV appearances, and his enduring role as a fashion icon in the 21st century. Whether the object of reverence or ridicule, of desire or disdain, Delon remains a unique figure who continues to court controversy and fascination more than five decades after he first achieved international fame.

The moving image has become a key marketing tool for luxury fashion, central in enabling brands to shape their visual codes and extend their brand awareness. Fashion Film is the first detailed study of the shifting shape of fashion imagery in the digital age, investigating the role of the moving image in the promotion, communication and spectacle of contemporary fashion. Combining interdisciplinary analysis of cinema and digital culture, this ground-breaking book traces the emergence of fashion film in the 21st century through its historical roots in pre-digital forms of photography, experimental cinema, mass-media advertising and documentary film-making, right up to today's visual spread of contemporary fashion on video blogs, online magazines and live-streamed catwalk shows. Examining collaborations between fashion designers and pioneering image-makers such as Guy Bourdin, Jean-Paul Goode, William Klein and Nick Knight, the book highlights the critical tension between the fashion film conceived as a creative endeavour and as commercial enterprise. Fashion Film also includes a parallel focus on factual representations of fashion through the recent rise of documentary fashion film that goes behind the scenes to follow the processes and personalities involved in making fashion. Accessible and well-illustrated, Fashion Film will appeal to students and scholars of fashion, film, media, photography, celebrity, sociology and cultural studies.

Featuring a lineup of distinguished academics, this collection remedies the absence of scholarly attention to French cinematic legend Isabelle Huppert. This volume deconstructs Huppert’s star persona and public profile through critical and theoretical analysis of her various screen roles—from her very early appearances alongside Romy Schneider in César et Rosalie (Sautet, 1972) and Gérard Depardieu in Les Valseuses (1974) to a number of celebrated collaborations with high-profile European auteurs such as Catherine Breillat, Claire Denis, Jean-Luc Godard, Michael Haneke and Joseph Losey, and with more popular auteurs such as Claude Chabrol and François Ozon. Known for a cerebral internalization of characterization, a technical mastery of extreme emotions, and a singular brand of icy intellectualism, Huppert’s performances continue to impress, stun and surprise audiences. By focusing on several theoretical questions that relate to image, identity, sexuality and place, this volume situates Huppert’s star persona in the more practical creative contexts of performance, authorship, genre and collaboration. This volume contrasts complementary critical accounts of her stardom by working across the different periods and territories of her career.