In any film, a shot change in a succession of images is a rupture even if it is used to constitute a continuity as is mostly the case. In Alain Resnais's films continuity is almost never the object of shot changes. In the classical system, the shot is effaced on behalf of the whole into which it is integrated. No shot in his films is singular. It contains all manner of similitudes and paths and into which it can enter and depart, like Carlos, like exterior voices, like an image that then multiplies into images like it, of women, of desire, of losses. Carlos is a refugee from Franco's Spain and a professional revolutionary seeking to overthrow the Spanish dictatorship. La Guerre est finie is a film that takes place in an instant in an interval between two rivers, two crossings, and two lives.

This chapter considers the specificity of French cinema in the 1970s before analysing in more detail Coline Serreau's first film. Serreau's work on stage and on big or small screens was strongly influenced by the political mood which succeeded May '68 in France. In France, the Utopian tradition in literature is particularly marked in the period preceding and following the 1789 Revolution. The presence in the background of a huge reproduction of a painting by the French seventeenth-century painter Lorrain reinforces in a way the idea of performance since the rebellious artists appear in some long shots to be part of the painted background. What J. P. Jeancolas calls the 'vague contemporary', which for him characterises French cinema before the 1970s, became much more precise afterwards. The 'contemporary' was mostly expressed through socio-political films.

This chapter details the dialogue with republicans that led to the IRA ceasefire of 1994 and how the formative stages of the peace process took shape through confidential contacts and channels

This introduction presents an overview of the key concepts discussed in this book. The very structure of Joseph Losey's cinematic language, as well as his narrative style and content, are directly related to the artist's attempt to create a new, post-Cold War vision for radicalism and social change, as well as a personal atonement for the mistakes and misjudgements produced by the Old Left's dogmatic loyalty to an inhuman Stalinism. The chapter first explores the issue of film language. Having forged a cinematic connection between immanence and impulse, the chapter turns to their relevance to the Cold War politics of dislocation. While his The Boy with Green Hair constructed an ambivalent tension between the naturalism of absolute goodness and the spectre of violent impulse, the remaining films from Losey's brief stint in Hollywood, from 1947 to 1952, are largely devoted to analysing the psychology of this dark flipside.

In Assassins, the violence, its affects and consequences are played out from the start and in far more explicit and controversial fashion. Consequently, whereas Kassovitz's previous two features attempted essentially to engage with their popular audience at the same time as entertaining them, Assassins's polemical approach aims to confront, enrage and disgust its spectator into responding to the social issues of violence and youth alienation played out on screen. With its relatively large budget, high-profile release at the Cannes festival and casting of Serrault in the starring role, Assassins appeared to signal Kassovitz's arrival in mainstream French cinema following the cross-over success of La Haine. In Assassins, the spatially coded generational conflict within the mise en scène threatens to explode into violence in the Mexican stand-offthat takes place between Mehdi and Wagner following the death of Max.

Steffen Mau, in his response to Ayelet Shachar's lead essay, begins by recapping the historical development of border control. Before the twentieth century, it was possible to cross many national borders in continental Europe without travel documents or controls. Comprehensive systems for suppressing “informal” and non-authorized mobility are a relatively recent invention. Moving on to Shachar's essay itself, Mau acknowledges the value of her approach, which introduces a functional definition of borders. He identifies four key developments: increased selectivity and visa policies, internationalization of border regimes, macroterritorialization, and digitization and new border technologies. While Shachar includes these in her analysis, Mau argues that they can only be partially subsumed under the concept of the shifting border, and may in fact have a different momentum. In the final part of his response, Mau addresses Shachar's suggestions for developing an institutional-legal design that can match the change in border controls, offering a number of criticisms. While agreeing with her about expanding legal obligations in the area of humanitarian migration, he notes that the discussion should be extended to cover labor migration and tourism too. He also points out the mounting problems posed by the establishment of “smart borders." His final objection relates to the question of political feasibility. As necessary and normatively convincing as Shachar’s call for corresponding legal responsibility and shifting border control might be, it seems highly improbable that this will actually come to pass.

This chapter discusses the EL’s developing relations with both the social movements against austerity and the broader European left. It focuses upon the ways in which the EL has sought to build links, partly through its working groups, with trade unionists, environmentalists, feminists and other sections of the ‘movement left’, as well as participating in the World and European Social Forums and organising gatherings of broad left activists. The second part of the chapter examines some of the reasons why the EL has failed to date to attract a number of significant RLPs. We also consider the objections raised to the EL by more hard-line and traditionalist communist or Trotskyist parties. Finally, we conclude with a detailed discussion of the role of the GUE/NGL confederal group in the European Parliament and the EL’s relations with that group.

This chapter discusses J. Lee Thompson's career Hollywood with a focus on Cape Fear, which was an adaptation of John D. MacDonald's book The Executioners. The film set Lee Thompson's career in a whole new direction. In many ways, Cape Fear would distil the essence of Lee Thompson's cinema, and may therefore be regarded as the culmination of his British filmmaking trajectory. Although Max Cady is described in MacDonald's novel and in the film as 'an animal', Robert Mitchum plays him as the shrewdest and most intelligent of predators, able to control his simmering anger, match his tactics to the occasion and release his power to maximum effect. Lee Thompson accepted United Artist's invitation to take a production unit to Argentina to make Taras Bulba with a budget of $7 million and a cast which included 10,000 gauchos and their horses. He also completed two lavish comedies for Twentieth Century-Fox.

Jean-Luc Godard's Masculin féminin is about young people in Paris in the winter of 1965-66. As the title suggests, Masculin féminin is principally concerned with the sexual relations of these young people. The opinion of young people is constantly surveyed with regard to their sexual behaviour. Meanwhile, the steely monochrome photography places Masculin féminin much closer to the grim realism of Vivre sa vie than to the wild romanticism of Pierrot le fou. La Chinoise documents the activities of a group of young Maoist revolutionaries, centred around the apartment belonging to Véronique (Anne Wiazemsky)'s parents where they hold their meetings. There is a degree of uncertainty as to what the ' elle' in the title of Godard's 2 ou 3 choses que je sais d'elle refers. The jarring violence of Week-end's film form its brutally confrontational style makes it an ultimately irrecuperable work.

This chapter explores the cultural context within which Mathieu Kassovitz emerged to direct his first three short films, concentrating in the second half on key transformations relating to youth culture that have taken place in relation to French popular culture. One of the most important of the trips to the cinema came in the mid-1970s when Kasso-vitz was about 10 and his father took him to the Paris Cinémathèque to see Duel. The young Kassovitz was immediately struck by Spielberg's directorial style - accurately described by Kolker as a proficient structuring of narrative and control of mise en scène that encourages the spectator to surrender themselves to the narrative. Kassovitz's first short film Fierrot le pou became a statement of intent from the ambitious young director. Through his cultural references and influences Kassovitz makes a conscious effort to place his films in the realm of mass popular culture.

This chapter takes Bruno's theoretical metonym as a starting point for examining Icíar Bollain's deceptively transparent film narratives. Like the fictional 'Carte du Pays de Tendre', Bollaín's mises-en-scène map her characters' movement through contemporary Spain with narratives that give precedence to geographical and emotional journeys: Hola ¿estás sola? follows two young women's attempt to find work on the south coast and in Madrid; Flores de otro mundo explores female migration; and Te doy mis ojos, domestic abuse. The titles of these films play an integral part in this 'mapping', or rather, this remapping of women: each of them is associated with a gendered cliché that is subverted by Bollaín's co-scripted, open-ended narratives. It is the gift for social documentation, entertainment, collaborative transparency and the engaging of affect that suggests Madeleine de Scudéry's haptic map as a metonym for the way that Bollaín's first three films 're-map' turn-of-the-millennium female subjectivity.