By 1958 British production houses were becoming increasingly conscious of the importance of continental as well as American markets. Woman in a Dressing Gown and Ice Cold in Alex had both been premiered with striking success at the Berlin Film Festival, and Rank had begun to use German stars to ease its product into European cinemas. Impressed with his success in Germany, Wintle and Parkyn approached Lee Thompson to direct a vehicle for another 'Deutscher Star', Horst Buchholz. I Aim at the Stars gave Lee Thompson the opportunity to work with another 'Deutscher Star', Curt Jurgens, who played von Braun with a 'quiet, persuasive intensity'. Von Braun might be looking at the stars, but London critics judged that Lee Thompson was definitely standing in the gutter. Tiger Bay began filming only a few days after white youths in London's Notting Hill had mounted well-publicised attacks on the area's black residents.

The scene of the fête in La Règle du jeu has two principal elements. The first is the multiplicity of characters and of actions and the second, their interconnection, not simply dramatically but visually. The behaviour of the servants mirrors the situation of the guests and the 'play' of the fête is difficult to distinguish from the (deadly) reality of the intrigues of jealousy and love. In French Cancan, for example, the distinction on-stage/off-stage is blurred from the beginning. There is never exactly an off-stage in Jean Renoir's films, only different levels, intensities and tones of being on stage. The end of French Cancan, the performance of the cancan, the explosion of colour, movement, sensation, energy takes place not on stage but within the space of the audience.

Jack Clayton described Our Mother's House as a story about children with no father and so religious that when their mother dies they decide to bury her in the garden. Our Mother's House could be seen as a continuation of The Innocents and The Pumpkin Eater. Our Mother's House feels like a personal, private battle with inner demons: flawed, obscure, old-fashioned in places it may be, but there are many more passages in it that seem touching, tender and true. The danger to adults of childhood innocence has been explored in other films, notably in those of Alexander Mackendrick, but Our Mother's House has an atmosphere all of its own. The nearest to it for its combination of the grotesque and the poignant in its depiction of childhood, is René Clément's great film, Jeux Interdits - Forbidden Games.

Godard in the 1970s is doubtless addressing issues such as the nature of capitalism, and the possibilities for revolt. After Six fois deux, France tour detour deux enfants was Godard and Mieville's second attempt at making a television series. Consisting of twelve 26-minute episodes, France tour was conceived in order to be broadcast, like any other television programme, one episode at a time during prime-time on France's second state TV channel, Antenne 2. The work's actual broadcast history proved rather different. Based around interviews with two children, Arnaud, aged 9, and Camille, 11, each of the twelve episodes follows the same format. France tour détour deux enfants is a fascinating glimpse of what television could be: a powerful medium for the study of human interaction, capable of showing the reality of political lives with an immediacy and a subtlety that all the rhetoric of theory can only dream of.

Having established its presence through a series of critically acclaimed short films, Laetitia Masson's work has been characterised by the complexity of its narratives and characters and the provision of outstanding roles for Sandrine Kiberlain in En avoir (ou pas) , A vendre and Love Me. Je suis venue te dire offers an autofictional twist as a close-up of Kiberlain reading is accompanied by the voiceover recounting the couple's shared dream of finding someone who could incarnate the characters of their stories and mentions 'the giraffe', an image that Alice uses to describe herself in En avoir (ou pas) . This tentative construction of links between interdiegetic and extra-textual identities is pursued in Masson's next film through its extended engagement with star identity as a mode that entails the blurring of such categories.

This chapter traces the history of radical left party (RLP) policies and orientation towards European integration, taking further issue with the usefulness of the concept of ‘Euroscepticism’ as a way of encapsulating the rich variety of views and strategies that emerge from our survey. We consider how a wide range of factors has influenced RLPs’ attitudes towards European integration. We aim to show how parties that saw the nation-state as an embodiment of revolutionary and socially egalitarian values (as in the French Jacobin tradition) are likely to differ markedly from parties whose experience of nationalism is bitter and whose historical patrimony makes any recourse to ‘defence of the nation-state’ problematic at best – such as the German, Italian and Spanish parties. We analyse the legacy of RLPs’ co-operation inside the European Parliament from their first appearance there in the 1960s until the post-1989 break-up of the Italian Communist Party, the launch of the Confederal Group of the European United Left/Nordic Green Left (GUE/NGL) in the European Parliament in 1994 and, eventually, the birth of the EL in 2004.

This chapter focuses on the production of the miniseries Glory! Glory! It describes Lindsay Anderson's personal claim to the authorship of Glory! Glory! and the technological and budgetary constraints he encountered in the making of the miniseries. The chapter also describes the promotion of the miniseries and the favourable reaction of the screen industry.

In her closing essay for the volume, Ayelet Shachar begins by briefly restating her concept of the “shifting border.” She then moves on to address the three core issues raised by her interlocutors, which she labels as follows: 1) shapeshifting migration control and illiberal leeway; 2) legal institutions, social change, and constraints on governmental power; 3) the emancipatory power of ideas and political agency. Shachar concludes by observing that we cannot wait for perfection before we turn to counter preventable harm, death, and injustice. At the same time, we should not be afraid to contemplate robust, long-term solutions to the vexing problems of unfettered power, systemic exclusion, and official indifference to migrants’ rights, safety, and dignity.

Critics seem to assume a dehistoricised and homogenised America that is somehow the antithesis of France. Perhaps this is because 'Renoir américain' was seen on European screens when the cold war was raging and the world seemed polarised between two monolithic blocs. This chapter retains Christopher Faulkner's notion of the ideological shift in Jean Renoir but suggests a more complex toing and froing before Frontist values are finally abandoned. Renoir experienced the United States as a refuge, a haven of freedom in a world where freedom was increasingly in short supply. The chapter suggests that Swamp Water and The Southerner can be seen as an outsider's engagement with myths of America. This Land is Mine and Diary of a Chambermaid, while noticeably inflected by Hollywood, have clear links to Renoir's Popular Front films. The Woman on the Beach and The River show men psychologically or physically maimed by the fighting.

This chapter introduces the context and rationale for the study, introduces the main research questions, and sets out an overview of the chapters and their central arguments. It shows how few studies have focused on the radical left’s international activity, fewer still on the European Left Party (EL). It critiques the idea that the radical left should be seen as intrinsically Eurosceptic.

This chapter provides brief details of some of the projects on which Jack Clayton was involved but which for various reasons either never materialised on screen or were made by someone else. The projects include A Child is Waiting; The Looking-Glass War; Sweet Autumn; The Walking Stick; Mary, Queen of Scots; Zaharoff Pedlar of Death; The Tenant; lf You Could See Me Now; The Main; Revelations; Hand-Me Downs; The Bourne Identity and We Have Always Lived in the Castle. The list also includes One Last Glimpse; The Enchantment; Hannah; The Last Enemy; Cold Spring Harbour; The Stone Virgin; Augustus; Poe (The Dark Angel); The Cherry Orchard; Revolutionary Road; Hay Fever; Casualties of War; Massacre at Fall Creek and Silence. The chapter also reveals a lot about Clayton and perhaps even more about the industry in which he worked throughout his adult life.

What feminist filmmaking 'means' in Brazil has varied not only according to the history and contemporary status of women's rights and gender-related expectations, but also the chosen medium of expression (video played a vital role in expanding the discourses of citizenship during the 1980s) and targeted audience, as well as the geosocial locus of production. This chapter reviews the contributions of distinctive filmmakers in each of the three corresponding 'periods': military dictatorship, abertura, and retomada. It analyses the productive intersection of three transhistorical strands of activity: women's film education and their respective moments of creative emergence; the on-screen and off-screen relationship to the Brazilian state as an arbiter of cultural expression; and the textual definition and address of specific constraints and aspirations in relation to gendered subjectivity. The chapter directs our focus to the productive interaction of gender politics and aesthetics in the work of major women directors.

This chapter attempts the knotty task of evaluating Patrice Leconte's three films, namely, Monsieur Hire, Le Mari de la coiffeuse and Le Parfum d'Yvonne, in light of the critical conundrum. It involves, firstly, a rehearsal of the principal theoretical assumptions guiding discussions of fetishistic voyeurism in the cinema, and secondly, a rigorous close reading of the films in order to expose the broader narrative logics in which their allegedly sexist spectacles are embedded. Voyeurism and fetishism are concepts with considerable critical currency in film studies. Christian Metz's theory of the peculiarly hermetic subject/object nature of cinematic spectatorship was harnessed in the gender-specific account offered by psychoanalytically informed feminist work undertaken in the 1970s. The most influential of such accounts is undoubtedly Laura Mulvey's canonical Screen article of 1975, 'Visual Pleasure and Narrative Cinema'.