bluuebunny/crossref_metadata_2025 huggingface dataset:
Introduction: James Macpherson, the Enlightenment and Eighteenth-century History Writing
Authors: MacPherson Mairi , MacPherson Jim
Published: September 2023

This chapter outlines the structure and argument of the book: that James Macpherson wrote as a historian in all of his published works. Macpherson was an Enlightenment historian, where ideas about narrative, philosophy, and erudition were interwoven with eighteenth-century debates about the Highlands, commercial modernity, and the British Empire.
Stardom, Atrocity and the Beauty of Violence
Authors: Sharpe Mani
Published: September 2023

Drawing from notions of ‘synthesis’ and ‘ideology’ associated with Edgar Morin and Richard Dyer, theories of late-colonial stardom proposed by Guy Austin and Sarah Leahy, alongside Ginette Vincendeau’s understanding of Jean Gabin’s ‘redeemed’ militarised masculinity, this chapter is split into two sections. In part one, it focuses on Alain Cavalier’s 1964 L’Insoumis/The Unvanquished, illustrating the ways in which Cavalier frames the face of Alain Delon, undoubtedly one of the biggest French film stars of the late-colonial period, as a beautiful object; one that neutralises the paramilitary violence performed by his filmic body. Part two of this chapter then extends these thoughts to Mark Robson’s Les Centurions/Lost Command (1966), suggesting that a similar tendency towards historical sublimation is at play in Robson’s film, specifically in relation to the director’s portrayal of paratroopers as visual spectacles to be admired and adored. I ultimately suggest that – through their configurations of stardom – neither film represents the French military as guilty of the colonial crimes committed in the extra-filmic world. In both, beauty supersedes violence as France’s complicity in atrocities is – to use Dyer’s lexicon – ‘obscured’.
Militarised Masculinity and its Losses
Authors: Sharpe Mani
Published: September 2023

Taking its cue from theorists such as Alex Hughes, James S. Williams, and Todd Shepard, this chapter thus aspires to explore the ‘often ignored’ relationship between the ethics of decolonisation, the politics of cinematic representation and the thematics of masculine identity in two late-colonial narratives: Jacques Dupont’s Les Distractions/Trapped by Fear (1960), and Louis Malle’s psychological drama, Le Feu follet/The Fire Within (1963). After a brief introduction, the chapter thus begins by conducting textual analysis of the images of psycho-sexual castration, ‘Hussar’ anarchism, and cloaked queerness that subtend Dupont’s film. The second part of the chapter then shifts to Malle’s narrative, proposing that we read the film’s allusions to impotence as an elaborate allegory regarding the loss of a war.
Female Citizens and Guilt Displacement
Authors: Sharpe Mani
Published: September 2023

This chapter is structured into three sections. In the first, it briefly outlines the plot of Le Retour/The Return (Goldenberg, 1959), pausing to consider the subtext of emotional duplicity that subtends the film, with particular emphasis on how the director frames the female face. It then considers how this subtext is likewise threaded into the narrative of Paris nous appartient/Paris Belongs to Us (Rivette, 1961), specifically in relation to a profoundly mysterious, sexually promiscuous and quasi-fascistic femme fatale named Terry. In the last section, this chapter shows how this tendency towards representing female French citizens as the source of an all-pervasive anxiety reaches its apotheosis in Secteur postal 89098/Postal Sector 89098 (Durand, 1961), an often referenced yet seldom analysed film, dedicated to chronicling the breakdown of love between an absent soldier and his pining partner. Ultimately, this chapter suggests that each of these late-colonial films exemplifies a dynamics of gendered ‘guilt displacement’, ‘symbolising women as national scapegoats, and bearing the wartime sins of the nation out into the wilderness of moral opprobrium’ (Hipkins and Plain 2007: 19).
The War as Seen from Algeria by the Settlers
Authors: Sharpe Mani
Published: September 2023

Divided into two sections, this chapter unfolds as follows. In the first section, it considers the dynamics of looking that underpin Les Oliviers de la justice/The Olive Trees of Justice (1962), by Jean Pélégri and James Blue, drawing attention to the visual trope of flânerie (strolling), depictions of military visuality, alongside the film’s subtext of colonial reconciliation. Extending these ideas to the love-struck imaginary of Au biseau des baisers/Slanted Kisses (1962), in the second section, the chapter shows how Gilles and Sator’s film revolves around two types of gaze – one amorous, one panoramic – before concluding with some thoughts on the allegorical value of light and darkness. In neither Les Oliviers de la justice nor Au biseau des baisers, this chapter ultimately argues, are settlers represented as perpetrators of colonial atrocity, but rather as innocent victims of the late-colonial epoch.
Introduction
Authors: Sharpe Mani
Published: September 2023

The introductory chapter of this book is split into several parts. In part one, it provides a historical outline of the Algerian War of Independence (1954-1962), summarising how this war impacted upon French society and culture. Part two examines the discourse of ‘redemptive pacifism’ that emerged in response to this war, before shifting to a discussion of what exactly constitutes ‘late-colonial French cinema’ in part three. Part four considers the impact of pre-censorship, censorship, and self-censorship on industry professionals, before the chapter ends with a summary of the interdisciplinary methodology used in the book, alongside its structure and argument.
The US Graphic Novel
Authors: Williams Paul
Published: September 2023

The US Graphic Novel provides a history of the graphic novel in the United States from the nineteenth century to the present, examining the way that changes in the comics industry, book trade, and webcomics distribution have shaped the publication of long-form comics. It identifies key historical moments, illustrated by the analysis of specific texts, and shows the different institutional imperatives that have affected the production of comics and graphic novels, whether that is courting particular audiences or navigating transformations in how comics are sold. The US Graphic Novel pays attention to how the concept of the graphic novel developed through the twentieth century, during which time art historians, journalists, fans, and reviewers debated whether it was possible for a comic to be a novel – debates that accelerated after the term ’graphic novel’ was coined by Richard Kyle in 1964. This study underlines the intermediality of the graphic novel, showing that this cultural form is not only the meeting place between periodical comics and books, but that graphic novels are in dialogue with films, posters, and computer screens.
Declaration of Independents: 1973–9
Authors: Williams Paul
Published: September 2023

Graphic novels were published with increasing frequency in the 1970s: a new system of distribution called the direct market encouraged the growth of specialist comic shops, which in turn spurred the creation of new companies targeting existing comics fans with more adult-facing versions of popular genres (Sf, fantasy, horror), so-called independent comics. Positioned between the mainstream and the underground, they were also known as ground-level comics. Graphic novels continued to be published by underground presses, Rip Off Press especially, whose range of books included revisionist histories, which were becoming a notable genre produced by underground graphic novelists. Various interlocking transformations in the US book trade made publishers more amenable to release graphic novels in the 1970s: synergies between media companies, the search for blockbuster hits, and the rise of book packagers. No book packager was more active in 1970s graphic novel publishing than Byron Preiss, and this chapter discusses Empire, written by Samuel R. Delany with painted art by Howard Chaykin, whose production history is a good case study to understand the conflicting visions of what a graphic novel should look like during this period.
Gothic Fiction and the Writing of Trauma, 1914-1934
Authors: Smith Andrew
Published: September 2023

The book examines the representation of the ghost-soldier in literature published between 1914-1934. These ghosts both mark the presence of trauma and attempt to make sense of trauma. This study examines short stories, novels, poems and memoires, which employ ghosts to reflect upon feelings of loss. This literary context is paralleled by accounts of shell-shock, which also construes the damaged soldier as psychologically missing, and so spectre-like. Literary and non-literary texts repeatedly deploy a form of the uncanny familiar from a Gothic tradition as way of reflecting upon grief. The book explores fiction by well-known authors such as M.R. James, E.F. Benson, Dorothy L. Sayers, and Dennis Wheatley alongside largely forgotten contributions to The Strand and other periodical publications such as The Occult Review.
Introduction
Authors: Laine Kimmo , Laine Kimmo
Published: September 2023

This chapter outlines a context for film production in the studio era. Prerequisites for an industrial based production system are discussed in terms of vertical integration, hierarchical labour structure, mutual competition between the production companies and the attempts to establish film studios as ‘full-service houses’. While the global influence of Hollywood in the building of the studio system cannot be denied, the chapter suggests that the relevant point of reference in Finland was often European cinema rather than Hollywood.
Minors and independents
Authors: Laine Kimmo , Laine Kimmo
Published: September 2023

The dominance of the majors during the Finnish studio era was never total. Despite the difficulties in working outside the big companies, some of the minors and independents achieved a remarkable output, and some of the established classics like The Stolen Death (1938) and The White Reindeer (1952), discussed in this chapter, were produced independently. This chapter charts the challenges – lack of money and facilities – as well as the benefits – creative freedom – of working on the outskirts of studio production. The relation between major, minor, independent and amateur film production is also discussed.
House styles
Authors: Laine Kimmo , Laine Kimmo
Published: September 2023

This chapter examines the dialectic of standardisation and differentiation inherent in developing the house styles. What were the ways Finnish studios used for marking their films as specific and distinctive, while at the same time borrowing and stealing from and being influenced by the other studios? The concept of house style is considered, first, from a more general content-related perspective of subject matter (rural films vs. city films), second, from a point of view of visual style (expressionist, ‘French’ or noir style vs. blunt and pragmatic style), and third, in terms of audience differentiation (general vs. specialised audiences).
Prologue: ‘Do You Enjoy Being a Symbol, Pontius?’ The Trial of Pontius Pilate and Governor Collins
Authors: McDonough Christopher M.
Published: September 2023

On Easter Monday, 1957, The Trial of Pontius Pilate, a drama by the highly regarded playwright Robert Sherwood, aired on NBC. Among its viewers, that evening was the governor of Florida, LeRoy Collins, who later would make specific reference to the program during a significant speech given at the height of race riots in Tallahassee in which he publicly denounced segregation and embraced the civil rights movement. Speaking about a strange new situation through a new mode of mass communication, Collins appealed to Biblical authority, not as he found in the Scriptures but rather as found on the screen. As compelling a message as it contained for viewers like the governor of Florida, however, The Trial of Pontius Pilate had in fact almost not reached the air. NBC had been worried about charges of anti-Semitism in the script, asking noted rabbi Louis Finkelstein to work with Sherwood on revisions. In the end, the program did not air until years after Sherwood’s death. As he suspected it would, Collins’ political career came to an end with this speech, but the governor’s subsequent reputation is held in far higher regard than that of his ancient Roman counterpart.
The Silent Pilate
Authors: McDonough Christopher M.
Published: September 2023

After a discussion of the controversial history of staging Passion Plays in nineteenth-century America, the chapter turns to a consideration of early filmmakers who looked to Bible as a source of inspiration. Competing versions of Jesus’ story were made by Thomas Edison and Siegmund Lubin in the 1890s, but a fuller and more impressive movie was realised in 1911 with the release of From the Manger to the Cross. The “stylistic retardation” of this film, as identified by Charles Keil, had a deadening effect on future portrayals of Jesus, though it allowed some freedom for the filming of its Pontius Pilate (Samuel Morgan). No criticism of flatness can be levelled against Victor Varconi’s performance as Pilate in Cecil B. DeMille’s King of Kings (1927), in which we have the final flowering of silent film as a fully formed genre. Just as H.B. Warner did for Jesus in this film, so Varconi’s subtle but powerful Pilate sets the tone for a generation of filmmaking to come. So great was the impact of King of Kings that Hollywood would not make another portrait of Jesus and Pilate for another three decades.
The Roman in the Living Room: Pilate on TV in the Early 1950s
Authors: McDonough Christopher M.
Published: September 2023

After the success of DeMille’s King of Kings (1927), the most significant dramatisations of Pontius Pilate would appear on television. These “Sunday School” TV programs often had low budgets but high aims, such as those produced by Father James Friederich’s Cathedral Films, which also released a feature film called Day of Triumph. Pilate here is played by Lowell Gilmore in a peevish and almost kitschy manner. Other more nuanced programs were made by the Roman Catholic Family Theatre group under the direction of Father Patrick Peyton. Hill Number One, for instance, portrays the conversion the wife of Pontius Pilate (Leif Erickson) as a tale told by a chaplain to soldiers fighting in Korea. Equally high-minded and better-funded network programming would likewise turned to the story of Pilate in the early 1950s. Pontius Pilate was broadcast live on Studio One, CBS’s critically-acclaimed playhouse series. This drama, written by Michael Dyne and heavily script-doctored by Comparative Religion professor Moses Jung, portrays the break-up of Pilate’s marriage after he orders Jesus crucified. Although Procula and Pilate dream of “a house with white pillars,” this vision of their future life together in the suburbs is one Procula feels compelled to confront.
Mrs Pilate: Claudia Procula and Clare Boothe Luce
Authors: McDonough Christopher M.
Published: September 2023

“While he was sitting on the judgment seat, his wife sent word to him, ‘Have nothing to do with that innocent man, for today I have suffered a great deal because of a dream about him.’ From this single sentence in the Gospels, a rich tradition has grown up about Pontius Pilate’s spouse, later called Claudia Procula. Her story found expression in the small-screen dramas of the mid-century. From this same period comes the most intriguing portrait of Claudia, though it was a production that never in fact made it from the page to the screen. From March of 1951 through the spring of the following year, the multi-talented Clare Boothe Luce worked diligently on a concept for RKO Pictures to be entitled Pilate’s Wife, which told the story of the Passion from the perspective of the prefect’s new spouse, Claudia. As the eighteen-year-old niece of the emperor Tiberius, Claudia develops over the course of the story from a spoiled young aristocrat interested in nothing but her own amusement into a figure of deeper spiritual depth. In the early 1960’s, Pilate’s wife was also featured on a best-selling recording called Claudia’s Letter, read with musical accompaniment by actress Marjorie Lord.
Finding Meaning in the Middlebrow: Pilate in the 1960s
Authors: McDonough Christopher M.
Published: September 2023

The middlebrow Biblical epics of the 1960’s are considered in light of critic Dwight Macdonald’s dismissal of the genre as “hopeless.” While the films under consideration are not without their flaws, they represent the period’s earnest attempt to engage with a spiritual void at the same time that the Catholic Church was launching Vatican II. The representation of Pilate in the Hallmark TV special Give Us Barabbas! (1961) is played with heart-breaking emotion by Dennis King in the actor’s swan song. The same year sees a memorable if brief performance as the prefect by Arthur Kennedy in the Anthony Quinn vehicle, Barabbas. Less well-known is the French-Italian venture Ponzio Pilato, starring Jean Marais who, despite his handsome profile, cannot save the intriguing but shoddy production. Perhaps the most important Jesus epic of the period is The Greatest Story Ever Told, directed by George Stevens as a way of exorcizing the demons who haunted him ever since he filmed the liberation of Dachau for the “Hollywood Irregulars,” as special unit of the U.S. Signal Corps headed by Frank Capra. To play Pilate in Greatest Story, Telly Savalas famously shaved his head while channelling the only-following-orders spirit of Adolf Eichmann.
Michael Palin’s Accent in Monty Python’s Life of Brian , and a Few Others
Authors: McDonough Christopher M.
Published: September 2023

This chapter begins with a discussion of Monty Python’s Life of Brian (1979) and particularly Michael Palin’s comic portrayal of Pontius Pilate, which has been critiqued for insensitivity, as it makes fun of a speech impediment. This leads to a reflection on Pilate’s accent generally, as well as in film. How Pilate might have sounded historically is considered in light of Cicero’s distinction between contentio (oratory) and sermo (conversation). With regard to film, Charlton Heston had characterized Bible films as relying upon a “Brits-as-Romans, Americans-as-Jews” tradition (which the classical scholar Maria Wyke has called “the aural paradigm”). Also studied is another juxtaposition of accents, specifically Irish and British, in the BBC’s Son of Man (1969) and The Passion (2006).
Epilogue: A Time of Handwashing
Authors: McDonough Christopher M.
Published: September 2023

In this epilogue, the author reflects upon the context in which he wrote most of this book about Pilate and film, the worldwide lockdown resulting from the Covid-19 pandemic. He considers productions of the Passion story that seem to be currently underway, including a sequel by Mel Gibson of his Passion of the Christ as well as a film now in post-production by Terrence Malick called The Last Planet. In addition, the author envisions what future film and TV versions of Pontius Pilate might be, noting that social and political anxieties often make their way into productions ostensibly about the Bible. “When, as they perennially do, filmmakers turn once again to the Passion narrative, it will be worth thinking about Pontius Pilate and this period, during which, as the coronavirus ravaged our lands, our leaders time and again acted as though there were no such thing as truth and we were all obsessively washing our hands,” he writes in the book’s final sentence.
Looking Beyond Neoliberalism
Authors: O'Shaughnessy Martin
Published: September 2023

This book probes the response of French and Francophone Belgian cinema to neoliberal crisis, focusing first on neoliberal subjectivity, then exploring how cinema can track emergent possibilities and challenge us to imagine alternative futures. It begins by noting that crisis itself must be seen as a routine part of neoliberalism’s (mal)functioning, something instrumentalised by neoliberal governance, and a more systemic crisis of neoliberalism itself. Because of this complexity and resistance to neat chronological limits, the book examines works from before 2007-2008 as well as those produced after that time. It brings together careful close readings of selected films and relevant theory. It first shows how Audiard’s flexible heroes remake themselves as successful neoliberal subjects. Two chapters then explore films by Cantet, Hansen-Løve, the Dardenne brothers, Brizé, and others, looking first at neoliberal subjects in the grip of debt and, radicalising the sense of crisis, driven to suicide. Failed filmic suicides are used to explore what an exit from neoliberal labour might mean. The next two chapters continue this search for an exit, by discussing how the works of Sciamma and Kechiche develop a sense of radical contingency, and by uncovering a neglected gift economy which opens a sense of futurity and social connectivity in the Dardennes’ films. The final chapter explores how, with its machinic powers and semiotic richness, cinema can respond to our cog-like insertion into multiple machineries or to the semiotic richness of political demonstrations. Theorists turned to include Rancière, Foucault, Lazzarato, Žižek, Mauss, Althusser, Malabou and Derrida.
Audiard’s triumphant neoliberal subjects
Authors: O'Shaughnessy Martin
Published: September 2023

This chapter seeks to square accounts of Jacques Audiard as a fundamentally conservative director with those that see him as a progressive one who daringly reinvents gender roles by suggesting that these are two sides of the same neoliberal coin. Confronted with their precarity and moving in typically violent genres, his males are forced to become flexible, collaborative and communicative, and to learn new skills, in order to survive and eventually triumph. Inviting us to move beyond narrowly individual-centred accounts of neoliberal subjectivity, they are also increasingly incorporated into entrepreneurial and flexible families. The chapter brings close readings of Audiard’s films into dialogue with relevant theory. It draws on Foucault, Dardot and Laval and Boltanski and Chiapello to explore the neoliberal subject, Lorey and Lazzarato to theorise precarity and Melinda Cooper to explore the flexible neoliberal family.
The Dardennes’ unwitting gifts
Authors: O'Shaughnessy Martin
Published: September 2023

This chapter observes that the ethical core of the Dardenne brothers’ films resides in an essentially static opposition between systemic murderousness and the Levinasian command not to kill the vulnerable Other. Across a series of close readings, it then argues that the films need a supplement, the gift, to open a future for their characters and mobilise more creative human capacities beyond the murder-vulnerability pairing. It draws its own theoretical impetus from figures such as Derrida, Bourdieu and Mauss, especially the latter. In its very impurity and conditionality, it suggests, the Maussian gift shows us how social connections can be built over time and how, rescued from commodity status, objects can be re-embedded in a dense web of human interconnection. The chapter argues that, with their close attention to bodies, gestures and objects, the Dardenne brothers’ films build just such a Maussian gift economy. The chapter is particularly interested in the recurrent gift of skills in the films and in how gestures that belong to no-one are given on in a way which calls for open-ended retransmission. Almost despite themselves, the films discover an essential plasticity in bodies, gestures and objects that makes them available for imagining alternative futures.
Gender, Stars and Class Wars: Alfie and Sleuth
Authors: Rasmus Agnieszka
Published: September 2023

This chapter examines what happens when Michael Caine’s 1960s and 70s working-class lover is remade with a new British actor, Jude Law, in the lead. Such remakes tend to follow their predecessors more closely, rejecting formulaic resolutions or upbeat Hollywood endings. Starting with Alfie as a more politically correct remake to appeal to contemporary sensibilities and closing with Sleuth, where Law clashes face-to-face with Caine, the chapter reveals a complex entanglement of class, gender and star relations, with the remake of Sleuth in many ways becoming a sequel to Alfie. The chapter investigates how via casting, a sense of seriality and continuity is established not only across the originals and their remakes but also across both remakes. As a result, in a similar way to the current trend in legacyquels, all four titles are bound together in new ways as Caine appears to be passing on the torch to Law in the acting profession.
Introduction
Authors: van de Sande Mathijs
Published: September 2023

In 2011 and throughout the ensuing decade, the world witnessed the emergence of many occupation movements such as Occupy Wall Street, the Spanish 15-M movement, and the Gezi Park protests. Notwithstanding the many differences between them, these movements seem to have had something essential in common. As David Graeber, the anthropologist and co-founder of Occupy Wall Street, argued, these movements were distinctively ‘prefigurative’. But what does this concept mean and where does it come from? Prefiguration is often defined as the attempt of political activists or revolutionaries to act consistently with their ultimate ends. At a more detailed level, however, the term ‘prefiguration’ seems to have been used and defined in very different, and at times even conflicting, ways. This introduction provides a short genealogy of the term and disentangles its various meanings and uses (in anarchist, feminist, New Left, heterodox Marxist, and alter-globalist theory). It also hypothesises that a radical-democratic theory of prefigurative politics may be necessary to understand the radical potential and relevance of these various occupy movements.
A New Society in the Shell of the Old
Authors: van de Sande Mathijs
Published: September 2023

The term ‘prefiguration’ is typically associated with anarchist and syndicalist workers’ movements. Rather than to pursue radical societal change as a future ideal that must be realised after a revolution, anarchists have always sought to seek self-liberation within their own revolutionary movement and practices. Today, this is often referred to as ‘prefiguration’, but traditionally it has also been described as an attempt to ‘build a new society in the shell of the old.’ This chapter reconstructs different anarchist conceptions of prefiguration as a view of revolutionary change, focusing specifically on Mikhail Bakunin, syndicalist movements such as the Industrial Workers of the World, and Peter Kropotkin as some of its most prominent advocates. It then engages with radical-democratic theorists such as Claude Lefort to articulate a critique of anarchist notions of prefiguration. Rather than creating a harmonious and conflict-free society (which is the ultimate ideal of most anarchist theorists and tendencies), the question at stake for many contemporary prefigurative movements is how to establish democratic practices and institutions in which political conflict and social division can be durably staged. They seek to reconstitute the political form of society.
Sedimentation and Crystallisation: Two Metaphors for Political Change
Authors: van de Sande Mathijs
Published: September 2023

How may prefigurative democracy lead to significant political change in the long term? As argued in Chapter 2, prefigurative democracy is radically open-ended, and rather than bringing it to a close its practitioners will often seek to maintain or expand their movement. Nevertheless, prefigurative practices eventually often do come to an end. How can deeds from the past nevertheless continue to have a bearing on our political reality? This chapter establishes and compares two different ways of imagining change after prefigurative democracy. To this end, it employs two geological metaphors for political change: Ernesto Laclau’s concept of sedimentation, and Hannah Arendt’s notion of crystallisation. The former helps to understand how political discourses gradually take shape and come to determine our understanding of the social. Arendt, on the other hand, employs the term ‘crystallisation’ to describe how political acts and events that appear to have been forgotten may nevertheless be reinscribed with new meanings throughout time – and then return to the surface to inspire political actors or deeds in the future. Both perspectives have in common that they shed a different light on the question whether, or how, prefigurative democracy can be rendered a ‘success’ or ‘failure.’
Conclusion
Authors: van de Sande Mathijs
Published: September 2023

The concluding chapter seeks to conceptualise prefigurative democracy as an attempt to change the political institution of society. This yields an understanding of the radical potential of protest and social movements today. The chapter summarises the most important conclusions from the book in five theses on prefigurative democracy: 1) Prefigurative democracy is neither revolutionary nor reformist; 2) Prefigurative democracy is both formal and substantial; 3) Prefigurative democracy is horizontal as well as vertical; 4) Prefigurative democracy is in, against, beyond, and in engagement with the state; and 5) Prefigurative democracy is only the beginning.
Traffic in Images: Visual Spectacle before Cinema in Brazil
Authors: Christie Ian
Published: September 2023

Past generations of film historians, especially those exploring the early years of their national cinemas, have tended to focus on the birth of indigenous production. Adopting a media archaeological approach, this chapter argues instead for the inherent globality of technological media, whereby these were widely exported and welcomed as tokens of modernity and interconnection throughout the nineteenth century. More specifically, the chapter contends that the chronological beginning of Brazil’s film history needs to be re-placed in the shifting ensemble of pre-cinematic entertainment media. To that end, it describes a trajectory from paintings to panoramas that denotes Portugal’s censorious attempts to ‘hide’ Brazil from the world, as Latin American images became prime examples of the exotic for nineteenth-century audiences.
‘The most innocent film of the year’: Comic Books, Sex and Cinema Marginal
Authors: Solomon Stefan
Published: September 2023

This chapter offers a survey of the connections between comics and Cinema Marginal by turning its attention to a case study that draws out some of the most interesting aspects of that relationship: Carlos Zéfiro’s catecismos, the pornographic comics that circulated in Brazil from the mid-1950s until the early 1970s. The catecismos are analysed as a non-cinematic form of pornography that was capable of showing explicit sex before the cinema could, which complicates the conventional historical evolution of national on-screen erotica from the pornochanchadas to hardcore films in the 1980s. The chapter also explores an earlier fictionalised representation of Zéfiro’s work as depicted in João Callegaro’s Cinema Marginal film O pornógrafo (The Pornographer, 1970).
Photographs of the Invisible: Intermedial Figurations of Social Exclusion in Babás and Aquarius
Authors: Luca Tiago de
Published: September 2023

Drawing on Laura Mulvey’s study of photographic stillness, this chapter considers the use of photography as an intermedial device to provoke reflection on that which is only partially visible at the edge of the frame. It argues that this marginal invisibility can act, paradoxically, as the visualisation of social and structural forces of marginalisation. To that end, the chapter explores the short audiovisual essay Babás (Nannies, 2010) and the fiction film Aquarius (2016). While vastly different in themselves, these films are contextualised as part of a prolific recent trend in Brazilian cinema interested in exploring domestic socio-economic relations in today’s Brazil, often in relation to its slave-holding past and via the figure of the maid.
(In)Visible Musicians: Supporting Instrumentalists and their Intermedial Vocation 1
Authors: Miranda Suzana Reck
Published: September 2023

Supporting musicians in filmic musical numbers are hardly ever noticed, either in the films themselves or in the corresponding critical literature. This chapter redresses this by relocating two secondary Brazilian musicians, Zezinho and Nestor Amaral, from the margins of Hollywood films and charting their transnational movement across different media, such as cinema, radio and the press. The chapter surveys the careers of both musicians in Brazil, looking in particular at Zezinho’s appearance in Brazilian musical films through the 1930s and the circumstances that propelled them both on to a ‘transnational’ career. It then moves on to explore the duo’s complex rapport with Hollywood cinema and its disproportionate coverage by the Brazilian press. The chapter uncovers not only aspects related to Brazilian popular music and cinema, but also the cultural capital of Hollywood in Brazil at the time.
Intermediality in Brazilian Silent Cinema: Luiz de Barros’s Works and Intermedial Strategies 1
Authors: Araújo Luciana Corrêa de
Published: September 2023

Luiz ‘Lulu’ de Barros was one of Brazil’s most prolific filmmakers. From 1916 until 1977 he directed over one hundred films, which included features and shorts, fiction and non-fiction films. Barros also worked extensively with theatre and scenography, as director, set designer, playwright and impresario, in theatres, casinos and other entertainment venues. His constant transit across different types of media and forms of entertainment contributed to the construction and viability of a career that spanned no fewer than seven decades. Although intermedial strategies, alongside constant dialogues with foreign cinema, characterise his entire career, this chapter focuses on the period between the 1910s and 1920s. This is because the study of Barros’ activities in that period can shed light on some significant intermedial dynamics pertaining to Brazilian silent cinema as a whole.
The Singer, the Acrobats and the Bands: A Study of Three Brazilian Films and their Intermedial Characters
Authors: Suppia Alfredo
Published: September 2023

Focusing on the period between the late 1960s and mid-1980s, the chapter analyses intermedial relations between cinema and television in three films: Roberto Farias’s Roberto Carlos em ritmo de aventura (Roberto Carlos at Adventure Rhythm, 1968), Adriano Stuart’s O incrível monstro trapalhão (The Incredible Goofy Monster, 1981) and Francisco de Paula’s Areias escaldantes (Scalding Sands, 1985). All of them are musicals starring popular Brazilian singers or rock bands or featuring popular showbiz artists. They amalgamate different languages and aesthetics from both cinema and television, but also from radio shows, the circus and pop music, exploring a hybrid format that lured generations of young spectators. The chapter understands the artists who star in those films as ‘intermedial bodies’, whose own styles and skills condense a combination of media and artistic heritages.
Impure Cinema as Method: The Last Films of Eduardo Coutinho
Authors: Lins Consuelo
Published: September 2023

This chapter analyses the last phase of Eduardo Coutinho’s film career, consisting of Jogo de cena (Playing, 2007), Moscou (Moscow, 2009), Um dia na vida (A Day in Life, 2010), and As canções (Songs, 2011). Unlike his filming on real locations, which had come to an end with O fim e o princípio (The End and the Beginning, 2005), these last four works were shot in closed spaces, three of them in stage settings and based on unique strategies of interweaving artistic media and forms, as well as intensifying reflexive procedures already present in his previous work. The interpenetration of Coutinho’s last films with theatre, television and music is so radical that it is possible to revisit his entire career based on the notion of ‘impure cinema’, the famous expression by André Bazin (1967) that marked generations of filmmakers and critics, and was more recently employed as an analytical method by Lúcia Nagib and Anne Jerslev (2014), allowing for the exploration of films in light of the multimedia nature of cinema.
The Humiliation of the Father: Theatrical Melodrama and Cinema Novo’s Critique of Conservative Modernisation 1
Authors: Xavier Ismail
Published: September 2023

Arnaldo Jabor, a leading Cinema Novo figure from the late 1960s onwards, played a key role in the intermedial dialogue between cinema and Nelson Rodrigues’s plays. All his films present a bitter diagnosis of the Rio de Janeiro middle-class conservatism, following the 1964 military coup. Jabor adapted Toda nudez será castigada (All Nudity Shall Be Punished) to the screen in 1972, and Rodrigues’s serial novel, O casamento (The Wedding, 1966), in a subsequent 1975 eponymous film. In the latter, he radicalised the ironic style already present in Toda nudez, taking advantage of the convoluted plot typical of serial novels. In both films, irony allows the director to posit bad taste, hysteria and family problems as historical symptoms of the decline of patriarchy in Brazil. This chapter examines these two Rodrigues adaptations in chronological order to highlight the gradual process of dramatic amplification within his filmmaking style. The focus on family dramas allows him to connect the way middle-class males handle their private traumas in that specific historical moment of Brazilian political life.
Introduction
Authors: Cole Phillip
Published: September 2023

This introductory chapter outlines the key questions the book addresses, and describes how the book goes about answering those questions.
The book attempts to answer three questions. First, what is forced displacement? Second, what impacts does forced displacement have on people’s lives? And third, given those impacts, what does justice demand for people who have been forcibly displaced?
The key move here is to answer the first question by taking a wide conception of forced displacement, including those displaced by climate events, disasters, and by development projects, as well as political refugees.
The reason why that wide view is taken is because there are key impacts experienced by displaced people whatever the cause of their displacement – these are prolonged displacement, violence, and loss of membership of their political community.
There is no good reason, therefore, to limit the ethics of forced displacement to those who might be defined as refugees, fleeing a specific kind of political violence, such as persecution.
This wider treatment of displacement challenges us to think about what protection for the displacement should look like, and indeed what justice demands in this context.
Necropolitics
Authors: Cole Phillip
Published: September 2023

This chapter examines the range of methods used by global North states to exclude displaced people from their territories, including refugees.
For example it examines the growth in number of walls and fences to keep out irregular migrants, in Europe and elsewhere, and the growing number of fatalities caused by these.
The wall between the United States and Mexico is another case study, as well as other measures taken, by the US to keep people away from its southern border.
The chapter looks at the practice of pushbacks, where states push large numbers of people back from their borders, which are illegal in international law, and the cooperation between Italy, the EU and Libyan forces in intercepting boats in the Mediterranean.
The externalisation of border controls from global North to borders in the global South is examined.
Development Displacement
Authors: Cole Phillip
Published: September 2023

Development displacement is caused by a range of development projects, including dam building and mega-events like Olympic games. This chapter begins by highlighting the violence experienced by those displaced by development, looking at the case of Berta Cáceres, murdered in 2016 because she led opposition to the building of a dam in Honduras, which would have displaced indigenous peoples from their traditional homes.
The chapter explores the numbers of people displaced by development projects, estimated at around 15 million people year, making it one of the major causes of displacement despite its relative neglect in the literature. It then examines frameworks put in place by the World Bank to protect people displaced by such projects, and at the limitations of those safeguards.
Gentrification is considered as a form of development displacement, which raises the question why people displaced by projects in global North cities are not considered to be internally displaced persons.
Finally, the chapter explores the impacts of development displacement on those who have been forced to leave their homes, and specifically at the extreme violence involved, illustrated by the Chixoy dam massacre in Guatemala.
The phenomenon of ‘land grabbing’ is explored in detail, where corporations seize areas of land, with the cooperation of national governments, and expel people who live there, to make way for commercial crops or mining, for example.
Voice, Speech, Agency
Authors: Cole Phillip
Published: September 2023

This chapter discusses the agency of the displaced, specifically refugees and how they have been represented in theory and practice as helpless and voiceless, lacking agency, so other others must speak and act for them.
It begins by examining the notion of the Voice, and how active steps have been taken to include refugee voices in developments such as the Global Compact on Refugees. However, these developments are limited, and the concern is that refugees remain a marginal presence at meetings of the Global Refugee Forum, for example.
The chapter then looks at the idea of Speech, drawing on the work of Jacques Rancière. For Rancière, politics take place when those who have no status as speaking beings interrupt the political order to make themselves heard, constituting themselves as subjects. The chapter argues that refugees and other displaced people perform this political act through protests and other acts of resistance. However, it argues that the framework of international protection does not recognise these acts as political, and so reinforces the loss of political agency for the displaced.
Finally, the chapter discusses Agency, and the absence of political agency for the displaced while in the time and space of displacement. Given the protracted nature of displacement, this means more or less permanent loss of political agency for the displaded. The chapter concludes by arguing that the space of displacement itself needs to be politicised through developing a political conception of forced displacement.
A Political Conception of Forced Displacement
Authors: Cole Phillip
Published: September 2023

This chapter develops the political conception of forced displacement argued for in the previous chapter.
According to this approach, displaced people should be constituted, or constitute themselves, as political subjects with agency outside of the nation state, rather than having to wait to be incorporated into a new nation state, or returned to their home one, in order to have their agency restored.
The chapter uses two strategies to outline this possibility. The first draws on recent work on global governance which has developed the concept of the global ‘agora’, to explain how global governance is no longer state-centric. There are multiple positions in the global order in which political agency can be exercised.
The second strategy is to draw on the example of the global movement of indigenous peoples, who succeeded in constituting themselves as a global community of interests with significant agency over the development of international policy that effects their interests.
The chapter builds on this example to argue that the forcible displaced could constitute themselves as a global community of interests which can represent them at the international level, and establish new forums for policy-making with the displaced themselves at the centre.
1979 and After
Authors: Petrie Malcolm R.
Published: September 2023

The conclusion underlines that an anti-bureaucratic, individualist rhetoric, deployed by competing political parties at different times and to different ends, played a crucial role within post-war Scottish politics. As well as being vital to explaining the decline of Unionism and the rise in support for the SNP, the change in the focus of this rhetoric from the economy to the constitution had important implications for popular understandings of the relationship between parliament and the people. Mistrust of central government, and a sense that politicians had become disconnected from the electorate, weakened the authority of Parliament, and encouraged a search for other avenues for the expression of political opinion. In Scotland, there arose a belief that there existed a distinctive tradition of popular sovereignty. The conclusion ends by discussing the longer-term impact of this shift, and the ways in which it shaped the Labour Party’s rhetoric and the campaigns in favour of devolution that took place during the 1980s and 1990s.
Of Mice, Men and Greek Film Noir: The Little Mouse
Authors: Stassinopoulou Maria A.
Published: September 2023

The immediate postwar years witnessed several noir productions in Greece. This chapter discusses the film To Pontikaki/The Little Mouse (1953), written and directed jointly by Giorgos Asimakopoulos and Nikos Tsiforos. The film addresses in a realist, perhaps even neorealist approach, broad social issues of its time: poverty, juvenile delinquency, and overseas migration as consequences of the war. Questions of verisimilitude and film realism played a crucial role in discourses on postwar film, while current discussions of genre and European noir also inform the classification options, when discussing a particular film. Critical rhetoric at the time and during the formative years of the New Greek Cinema, consistently referred to an assumed escapism of Greek postwar cinema and to its silence vis à vis the realities of its spectators’ lives. As the author argues in this chapter, the early postwar noir films offer enough material to demonstrate that cinema did engage with its surrounding society through relatable stories and characters, albeit in a different stylistic framework from that of mainstream cinema of the 1960s and of auteur cinema.
Dark Cinema, Dark Sounds: Mimis Plessas and the Integration of Jazz into Greek Film Noir
Authors: Poulakis Nick
Published: September 2023

Music of the so-called ‘Old Greek Cinema’ of the 1950s to the early 1970s plays a fundamental role not only in the construction of the films’ narrative milieu, but also in the formation of a distinctive, hybrid cinematic soundscape, which is characteristic of Greek film and popular music production of the period and crucial for their perception and reception by the audience. Particularly, in line with neo-noir film music of the post-classical era, Greek film noir heavily depends on the incorporation of jazz music styles, textures, and practices but this relationship has not been investigated in detail. Mimis Plessas – a remarkably prolific composer of mainstream cinema – has been widely acclaimed as the composer who integrated a jazz feeling into Greek film music of the aforesaid period. By providing a critical examination of Plessas’s soundtrack for the film Eglima sta paraskinia / Murder Backstage (Katsouridis, 1960), this chapter draws attention to the performative practices of audiovisual representation in early Greek film noir and the ambiguous qualities of Plessas’s scores as a means to explore mixed cultural identities, collective memories, personal emotional situations, and the osmosis between everyday life and the social imaginary during the early 1960s in Greece.