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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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This volume is the first English-language collection exclusively dedicated to the study of genre in relation to Spanish cinema. Providing a variety of critical perspectives, the collection gives the reader a thorough account of the relationship between Spanish cinema and genre, drawing on case studies of several of the most remarkable Spanish films in recent years. The book analyses the significant changes in the aesthetics, production and reception of Spanish film from 1990 onwards. It brings together European and North American scholars to establish a critical dialogue on the topics under discussion, while providing multiple perspectives on the concepts of national cinemas and genre theory. In recent years film scholarship has attempted to negotiate the tension between the nationally specific and the internationally ubiquitous, discussing how globalisation has influenced film making and surrounding cultural practice. These broader social concerns have prompted scholars to emphasise a redefinition of national cinemas beyond strict national boundaries and to pay attention to the transnational character of any national site of film production and reception. This collection provides a thorough investigation of contemporary Spanish cinema within a transnational framework, by positing cinematic genres as the meeting spaces between a variety of diverse forces that necessarily operate within but also across territorial spaces. Paying close attention to the specifics of the Spanish cinematic and social panorama, the essays investigate the transnational economic, cultural and aesthetic forces at play in shaping Spanish film genres today.
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Jede Angst hat einen Ursprung … Vor drei Jahren ist Jenna aus St. Ives weggezogen, um sich ihren Traum zu erfüllen: ein Psychologiestudium in Oxford. Als ihr Vater jedoch tödlich verunglückt, kehrt Jenna zurück in ihre Heimat, nur um schockiert festzustellen: Die idyllische Kleinstadt hat sich seit damals verändert. Denn das berüchtigte Queens Cartel hat Einzug gehalten und nicht nur ihr Bruder, sondern auch ihre Jugendliebe Ira scheinen Verbindungen zu der gefährlichen Gang zu haben. Abgesehen davon verschwinden immer mehr Menschen spurlos. Und bald schon muss Jenna um diejenigen fürchten, die sie liebt … In Band 2 von Anne Lücks Queens Cartel -Dilogie entführt die SPIEGEL -Bestsellerautorin ihre Leser*innen in eine englische Kleinstadt und begeistert erneut mit einer spannungsvollen Liebesgeschichte . Romantic Suspense mit Peaky Blinders -Vibes : Aufregend, mitreißend und romantisch – eine sommerliche New-Adult-Geschichte voller Mystery und Gefahr. Second-Chance-Romance : Eine Psychologiestudentin mit Emotional Scars trifft auf ihre Jugendliebe, die nun einer gefährlichen Gang angehört. Stimmungsvolles Setting : Das Queens Cartel hat sich in einer idyllischen Küstenstadt in England niedergelassen und diese wird nun durch düstere Vorkommnisse erschüttert. Mit edlem Farbschnitt und exklusiver Charakterpostkarte in der Erstauflage - Nur solange der Vorrat reicht!
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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Contemporary French cinema is an essential introduction to popular French film of the last 35 years. It charts recent developments in all genres of French cinema with analyses of over 120 movies, from Les Valseuses to Caché. Reflecting the diversity of French film production since the New Wave, this clear and perceptive study includes chapters on the heritage film, the thriller and the war movie, alongside the 'cinéma du look', representations of sexuality, comedies, the work of women film makers and le jeune cinéma. Each chapter introduces the public reception and critical debates surrounding a given genre, interwoven with detailed accounts of relevant films. Confirmed as a major contribution to both Film Studies and French Studies, this book is a fascinating volume for students and fans of French film alike.
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The French empire at war draws on original research in France and Britain to investigate the history of the divided French empire - the Vichy and the Free French empires - during the Second World War. What emerges is a fascinating story. While it is clear that both the Vichy and Free French colonial authorities were only rarely masters of their own destiny during the war, preservation of limited imperial control served them both in different ways. The Vichy government exploited the empire in an effort to withstand German-Italian pressure for concessions in metropolitan France and it was key to its claim to be more than the mouthpiece of a defeated nation. For Free France too, the empire acquired a political and symbolic importance which far outweighed its material significance to the Gaullist war effort. As the war progressed, the Vichy empire lost ground to that of the Free French, something which has often been attributed to the attraction of the Gaullist mystique and the spirit of resistance in the colonies. In this radical new interpretation, Thomas argues that it was neither of these. The course of the war itself, and the initiatives of the major combatant powers, played the greatest part in the rise of the Gaullist empire and the demise of Vichy colonial control.
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By considering the distinctiveness of the inter-war years as a discrete period of colonial change, this book addresses several larger issues, such as tracing the origins of decolonization in the rise of colonial nationalism, and a re-assessment of the impact of inter-war colonial rebellions in Africa, Syria and Indochina. The book also connects French theories of colonial governance to the lived experience of colonial rule in a period scarred by war and economic dislocation.
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This book re-examines French cinema of the 1970s. It focuses on the debates which shook French cinema, and the calls for film-makers to rethink their manner of filming, subject matter and ideals in the immediate aftermath of the student revolution of May 1968. Alison Smith examines the effect of this re-thinking across the spectrum of French production, the rise of new genres and re-formulation of older ones. Chapters investigate political thrillers, historical films, new naturalism and Utopian fantasies, dealing with a wide variety of films. A particular concern is the extent to which film-makers' ideas and intentions are contained in or contradicted by their finished work, and the gradual change in these ideas over the decade. The final chapter is a detailed study of two directors who were deeply involved in the debates and events of the 70s, William Klein and Alain Tanner, here taken as exemplary spokesmen for those changing debates as their echoes reached the cinema.
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Sie sind nur noch zu dritt und sie sind geschwächt. Aber sie wollen überleben – um jeden Preis. Zweifel überschatten den Kampf gegen das Labyrinth, das mit immer neuen Mysterien für die Jugendlichen aufwartet. Ihr mühsam erworbener Teamgeist scheint nicht zu brechen, doch lohnt sich für Jeb, Jenna und Mary der gemeinsame Kampf, wenn nur einer von ihnen überleben kann? Die entscheidende Frage aber wagt niemand zu stellen: Was erwartet den letzten Überlebenden hinter dem sechsten Tor? „Aus dem Labyrinth gibt es kein Entkommen, es hat mir den Schlaf geraubt. Spannender geht’s nicht.“ Ursula Poznanski „Das Labyrinth erwacht“ (Band 1 der Trilogie) wurde ausgezeichnet mit den Leserpreisen „Segeberger Feder“ und „Ulmer Unke“. Nominiert für die Leserpreise „Buxtehuder Bulle“ und „Goldene Leslie“. Alle Bände der Labyrinth-Tetralogie:Das Labyrinth erwacht (1)Das Labyrinth jagt dich (2)Das Labyrinth ist ohne Gnade (3)Das Labyrinth vergisst nicht (4)
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Februar 2017. Ein Nordkoreaner wird am helllichten Tag am Flughafen von Kuala Lumpur Weise vergiftet. Ein hochrangiger russischer Geheimdienstoffizier stirbt unter mysteriösen Umständen in einem Hotel in Washington. Und ein Reality-TV-Star zieht ins Weiße Haus ein. Zufall? Oder Auftakt zu etwas Größerem? Während sich die Machtzentren der Welt gefährlich neu sortieren und bizarre Gipfeltreffen die Schlagzeilen beherrschen, geraten drei Menschen ins Fadenkreuz: Jenna, eine CIA-Agentin, gejagt vom russischen Geheimdienst und vom nordkoreanischen Regime. Ljoscha, ein Moskauer Student, der es wagt, Putin live im Fernsehen herauszufordern, und nun seine Rache fürchten muss. Und Eric, ein nordkoreanischer Spion im Herzen des Weißen Hauses, der fasziniert ist von dem Mann, den er zu untergraben versucht ... In einer Welt aus brüchigen Allianzen, Verrat und verdeckten Kriegen ist Red Star Down ein packender globaler Thriller über Macht, Manipulation und den Moment, in dem die Welt aus den Fugen zu geraten droht.
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This source book offers a comprehensive treatment of solitary religious lives in England in the late Middle Ages. It covers both enclosed recluses (anchorites) and free-wandering hermits, and explores the relationship between them. Although there has been a recent surge of interest in the solitary vocations, especially anchorites, this has focused almost exclusively on a small number of examples. The field is in need of reinvigoration, and this book provides it. Featuring translated extracts from a wide range of Latin, Middle English and Old French sources, as well as a scholarly introduction and commentary from one of the foremost experts in the field, Hermits and anchorites in England is an invaluable resource for students and lecturers alike.
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