Open Access (free)
A Hollywood Love Story (as Written by James Baldwin)
D. Quentin Miller

Baldwin’s The Devil Finds Work (1976) has proven challenging since its publication because readers and critics have trouble classifying it. The challenge may be related to a common feature of Baldwin criticism, namely a tendency to compare late career works to early ones and to find them lacking: the experimental nature of later works of nonfiction like No Name in the Street (1972), The Devil Finds Work, and The Evidence of Things Not Seen (1985) does not square easily with the more conventional essays that made Baldwin famous in his early years. I attempt to reframe The Devil Finds Work not through a comparison to other Baldwin essays, but rather through a comparison to his fiction, specifically the novel Giovanni’s Room. I posit that a greater appreciation for Devil can result from thinking of it as a story, specifically the story of a failed love affair.

James Baldwin Review
Open Access (free)
Editor: Paul Grainge

As a technology able to picture and embody the temporality of the past, cinema has become central to the mediation of memory in modern cultural life. The memory of film scenes and movies screens, cinema and cinema-going, has become integral to the placement and location of film within the cultural imagination of this century and the last. This book is a sustained, interdisciplinary perspective on memory and film from early cinema to the present. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The second section examines the politics of memory in a series of chapters that take as their focus three pivotal sites of national conflict in postwar America. This includes the war in Vietnam, American race relations and the Civil Rights Movement, and the history of marginality in the geographic and cultural borderlands of the US. The book explores the articulation of Vietnam. The final section concentrates on the issue of mediation; it explores how technological and semiotic shifts in the cultural terrain have influenced the coding and experience of memory in contemporary cinema. It considers both the presence of music and colour in nostalgia films of the 1990s and the impact of digital and video technologies on the representational determinants of mediated memory. The book also examines the stakes of cultural remembering in the United States and the means by which memory has been figured through Hollywood cinema.

Open Access (free)
Sequence and the rise of auteurism in 1950s Britain
Erik Hedling

make the best of that. 30 Besides the refinement of the notion of cinematic authorship, the apology for American cinema was the most important contribution to the discourse of criticism made by Sequence (which in this regard places it with Cahiers du Cinéma ), a reappraisal which was part of critical debate about cinema in the 1950s. 31 It is interesting

in British cinema of the 1950s
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Memory and popular film
Paul Grainge

and its structures of belief, Memory and popular film is crucially concerned with the questions of (American) cultural identity that derive from this relationship. The book is organised in three main sections. The first section examines the relationship between official and popular history and the constitution of memory narratives in and around the production and consumption of American cinema. The four chapters in Part I

in Memory and popular film
Isabel Quigly

comedies and familiar cliché. Influenced by kitchen-sink theatre and the new aspects of life around it, it was turning out vigorous, outspoken films that reflected the new atmosphere, whereas Italian cinema had gone in an almost opposite direction, changing radically from its postwar realism to the smoothest of modern fantasies, a kind of mannerist style and a newer realism of luxury. The American cinema

in British cinema of the 1950s
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Munich–Rome–Los Angeles, or ‘The last temptation of Ingmar Bergman’
Thomas Elsaesser

Hollywood, rather like his somewhat younger colleagues Roman Polanski and Milos Foreman had done, or as Louis Malle was to do at about the same time: the mid-1970s saw Hollywood in crisis and in transition, but with the emergence of the so-called New Hollywood and its movie brats, it was also one of the most cinephile, experimental and innovative times in American cinema’s long history. As I try to picture this moment in time, imagining Bergman’s ‘last temptation’ rather than his ‘first seduction’, and endeavour to

in Ingmar Bergman
Open Access (free)
Ian Scott and Henry Thompson

(Manchester: Manchester University Press, 1995), pp. 37–​57. 3 Andrew Sarris, ‘Notes on the Auteur Theory in 1962’ in Gerald Mast, Marshall Cohen and Leo Braudy (eds) Film Theory and Criticism: Introductory Readings (Oxford: Oxford University Press, 4th edn, 1992), pp. 585–​8. C on c l u sio n Notes 241 Th e ci nem a of Ol iver   S to ne 4 Timothy Corrigan, ‘Auteurs and the New Hollywood’ in Jon Lewis (ed), The New American Cinema (Durham, NC and London: Duke University Press, 1998), p. 42. 5 James Riordan, Stone: The Controversies, Excesses, and Exploits of a

in The cinema of Oliver Stone
Ian Mackillop and Neil Sinyard

an allegory of his own situation (a hero trying to shake off his past and make a new start) and injects an unashamed melodrama into the action that is redolent of the radical American cinema of the late 1940s. Patrick McGoohan’s black-leather villainy in the film seems almost like a conscious aping of Marlon Brando’s performance in The Wild One (1954), which, for many of us at that time, would have been the nearest we

in British cinema of the 1950s
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The early British films of Joseph Losey
Neil Sinyard

be a good thing. As Gavin Lambert said at the time: ‘There is a splendour about this film, which has one of the most absurdly extravagant plots on record, and never flinches from it.’ As well as the energy of the visual style, what also marks out Losey’s English films at this time is what one might call his American ‘baggage’ – his background and early experience in American

in British cinema of the 1950s
Open Access (free)
Jenny Edkins

: Oxford University Press, 1985. 43 Chris Darke, ‘Desert of the Disappeared’. 44 Martin-Jones, ‘Archival Landscapes and a Non-Anthropocentric “Universe Memory”’, 707. 45 For a summary of this context, see Kaitlin M. Murphy, ‘Remembering in Ruins: Touching, Seeing and Feeling the Past in Nostalgia De La Luz/Nostalgia for the Light ([2010] 2011).’ Studies in Spanish & Latin American Cinemas 13, no. 3 (2016): 265–81. 46 Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004: 63. 47 Ruiz

in Change and the politics of certainty