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The New Face of Political Cinema
Since 1995 there has been a widespread return of commitment to French cinema taking it to a level unmatched since the heady days following 1968. But this new wave of political film is very different and urgently calls out for an analysis that will account for its development, its formal characteristics and its originality. This is what this book provides. It engages with leading directors such as Cantet, Tavernier, Dumont, Kassovitz, Zonca and Guédiguian, takes in a range of less well known but important figures and strays across the Belgian border to engage with the seminal work of the Dardenne brothers. It shows how the works discussed are helping to reinvent political cinema by finding stylistic and narrative strategies adequate to the contemporary context.
Jean Renoir
Jean Renoir is one of the most important figures in French cinema. This is an eminently accessible and original analysis of all his sound films, including those he made in Hollywood. Bringing new light on some of the director's most celebrated films, this lucid account traces his output from the silent period to the age of television, tying his work into a fast-shifting, socio-historical context. Giving an incisive and illuminating account of critical debates concerning Renoir, and focusing on hitherto neglected areas such as gender, nation and ethnicity the book asks us to rethink our understanding of Renoir's political commitment.
Cinema and the Republic
This book analyses contemporary French films by focussing closely on cinematic representations of immigrants and residents of suburban housing estates known as banlieues. It begins by examining how these groups are conceived of within France’s Republican political model before analysing films that focus on four key issues. Firstly, it will assess representations of undocumented migrants known as sans-papiers before then analysing depictions of deportations made possible by the controversial double peine law. Next, it will examine films about relations between young people and the police in suburban France before exploring films that challenge clichés about these areas. The conclusion assesses what these films show about contemporary French political cinema.
Bastards at Work
"Bullying is a social phenomenon that defines the contemporary workplace with much of the emphasis on psychosocial rather than physical suffering. In France, workplace bullying has emerged as a subject of intense interest and controversy among scholars, policy makers and cultural producers - notably novelists, playwrights and film directors. It has a high public profile as reflected in specific legislation, a wealth of critical literature on workplace suffering, and an extensive range of novels, plays and films. This study contextualises and analyses this wave of fictional storytelling that has emerged in France since the year 2000. It critically analyses more than a dozen such stories with ...
Politics and Propaganda
This book provides a full and detailed analysis of the phenomenon of propaganda, its meaning, content and urgent significance, from the taunting videos of Osama Bin Laden to the scalding polemics of American campaign advertising.
Neoliberalism and Global Cinema
In this edited volume, an international ensemble of scholars looks at how the world’s various cinemas, including Asia, Africa, Latin America, Europe, and the U.S., have variously performed, contested, and reinforced the worldwide transition to neoliberalism. Grounded in Marxist theory, the volume considers how the contradictions of capital, both as culture and commerce, have played out globally in contemporary media culture.
The Financial Image
The Financial Image: Finance, Philosophy, and Contemporary Film draws on a broad range of narrative feature films, documentaries, and moving image installations in the US, Europe, and Asia. Using frameworks from contemporary philosophy and critical finance studies, the book explores how contemporary cinema has registered recent financial and economic issues. The book focuses on how filmmakers have found formal means to explore, celebrate, and critique the increasingly important role that the financial sector plays in shaping global economic, political, ethical, and social life.
Millennial Money
A portfolio manager provides “sound advice that will give millennials the advantages they need to improve their financial future” (Publishers Weekly). The millennial generation has grown up in a different world than their parents did. They can’t passively rely on pensions or Social Security for a comfortable retirement. They’re skeptical of expert advice, yet more committed than baby boomers to passing wealth on to future generations. To build that wealth, young people must start investing early—and buck conventional market wisdom. Millennial Money explains the most common mistakes that hurt investors’ long-term returns and show why their investments in popular stocks or the hot industry of the day have resulted in such underwhelming results. More importantly, the book introduces a strategy that can help us overcome our shortcomings as investors—and become the most successful investing generation in history. “O’Shaughnessy lays out a clear path for building wealth over a lifetime with a key message: start now, invest globally, and master your own behavior.” —Meb Faber, CIO, Cambria Investment Management, and author of The Ivy Portfolio
An Edgy Realism
Similar to the way in which the new waves of the 1960s and 1970s had been characterized by new forms of cinematic realism, cinema since the turn of the millennium has pointed into the direction of a new, edgy realism. Art film movements such as Dogma 95 and the New French Extremity, as well as shaky-cam horror films like The Blair Witch Project and Paranormal Activity, provide evidence of the fact that the proliferation of the digital since the 1990s has profoundly changed not only contemporary media culture and the social role of film, as seen, for example, in the case of amateur film and the phenomenon of mobile reporting and its distribution via YouTube and the like, but also notions of r...
