Documents Concernant Le Film Une Martyre 1922

A unique exploration of the history of the bicycle in cinema, from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films. Cycling and Cinema explores the history of the bicycle in cinema from the late nineteenth century through to the present day. In this new book from Goldsmiths Press, Bruce Bennett examines a wide variety of films from around the world, ranging from Hollywood blockbusters and slapstick comedies to documentaries, realist dramas, and experimental films, to consider the complex, shifting cultural significance of the bicycle. The bicycle is an everyday technology, but in examining the ways in which bicycles are used in films, Bennett reveals the rich social and cultural importance of this apparently unremarkable machine. The cinematic bicycles discussed in this book have various functions. They are the source of absurd comedy in silent films, and the vehicles that allow their owners to work in sports films and social realist cinema. They are a means of independence and escape for children in melodramas and kids' films, and the tools that offer political agency and freedom to women, as depicted in films from around the world. In recounting the cinematic history of the bicycle, Bennett reminds us that this machine is not just a practical means of transport or a child's toy, but the vehicle for a wide range of meanings concerning individual identity, social class, nationhood and belonging, family, gender, and sexuality and pleasure. As this book shows, two hundred years on from its invention, the bicycle is a revolutionary technology that retains the power to transform the world.

In Quebec National Cinema Bill Marshall tackles the question of the role cinema plays in Quebec's view of itself as a nation. Surveying mostly fictional feature films, Marshall demonstrates how Quebec cinema has evolved from the innovative direct cinema of the early 1960s into the diverse canvas of popular comedies, glossy co-productions, and reworked auteur cinema of the postmodern 1990s. He explores the faultlines of Quebec identity - its problematic and contradictory relationship with France, the question of Native peoples, the influence of the cosmopolitan and pluralist city of Montreal, and the encounters between sexuality, gender, and nation traced and critiqued in women's and queer cinemas. In the first comprehensive, theoretically informed work in English on Quebec cinema, Marshall views his subject as neither the assertion of some unproblematic national wholeness nor a random collection of disparate voices that drown out or invalidate the question of nation. Instead, he shows that while the allegory of nation marks Quebec film production it also leads to a tension between textual and contextual forces, between homogeneity and heterogeneity, and between major and minor modes of being and identity. Drawing on a broad framework of theory and particularly indebted to the work of Gilles Deleuze and Félix Guattari, Quebec National Cinema makes a valuable contribution to debates in film studies on national cinemas and to the burgeoning interest in French studies in the culture and politics of la francophonie. Bill Marshall is professor of Modern French Studies at the University of Glasgow. He has written several books and numerous articles on film and Francophone culture.

Certain to engender debate in the media, especially in Ukraine itself, as well as the academic community. Using a wide selection of newspapers, journals, monographs, and school textbooks from different regions of the country, the book examines the sensitive issue of the changing perspectives ? often shifting 180 degrees ? on several events discussed in the new narratives of the Stalin years published in the Ukraine since the late Gorbachev period until 2005. These events were pivotal to Ukrainian history in the 20th century, including the Famine of 1932?33 and Ukrainian insurgency during the war years. This latter period is particularly disputed, and analyzed with regard to the roles of the OUN (Organization of Ukrainian Nationalists) and the UPA (Ukrainian Insurgent Army) during and after the war. Were these organizations "freedom fighters" or "collaborators"? To what extent are they the architects of the modern independent state? "This excellent book fills a longstanding void in literature on the politics of memory in Eastern Europe. Professor Marples has produced an innovative and courageous study of how postcommunist Ukraine is rewriting its Stalinist and wartime past by gradually but inconsistently substituting Soviet models with nationalist interpretations. Grounded in an attentive reading of Ukrainian scholarship and journalism from the last two decades, this book offers a balanced take on such sensitive issues as the Great Famine of 1932-33 and the role of the Ukrainian nationalist insurgents during World War II. Instead of taking sides in the passionate debates on these subjects, Marples analyzes the debates themselves as discursive sites where a new national history is being forged. Clearly written and well argued, this study will make a major impact both within and beyond academia." - Serhy Yekelchyk, University of Victoria

This first book published on film noir established the genre--a classic, at last in translation.

The Mass Ornament today remains a refreshing tribute to popular culture, and its impressively interdisciplinary writings continue to shed light not only on Kracauer's later work but also on the ideas of the Frankfurt School, the genealogy of film theory and cultural studies, Weimar cultural politics, and, not least, the exigencies of intellectual exile.

A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.