Sue Harris – författare

The most complete study of Blier's work to date, Harris traces the director's career from the early 1960s until the present. Outlines the forms, themes and style which dominate in Blier's work, and challenges the many labels that have been used to describe both the corpus of films and the man himself. Provides an original and controversial discussion of Blier's alleged 'misogyny', and invites the reader to understand the scatological and corporeal aspects of Blier's filmmaking in terms of long-established traditions of popular dramatic culture. Brings to light the comic mechanisms underpinning Blier's films and identifies strategies which navigate through one of the most entertaining and disconcerting bodies of work of recent years. The first book on Blier published in English.

Catherine Deneuve is indisputably one of the world’s most celebrated actresses, both in her native France and throughout the world. Her career has spanned five decades during which she has worked with the most significant of French auteurs, as well as forging partnerships with international directors such as Buñuel and Polanski. The Deneuve star persona has attained such iconic status that it now symbolises the very essence of French womanhood and civic identity. In this wide-ranging and authoritative collection of essays by a selection of international film academics and writers, the Deneuve persona is scrutinised and illuminated. Beyond the glamorous iconographic status of Yves Saint Laurent’s muse, and the epitome of sexual inviolability, Deneuve’s status as actress is foregrounded.The book will be essential reading for students and lecturers in star studies.

Interpersonal psychoanalytic theory states that people can achieve insight into how, through interactions with people, they became who they are, and how they can change patterns of living that limit further satisfaction. People are born with a blueprint for growth and development that includes self-respect, joy, expansion of experiences, creativity, and ever widening and deepening human interactions. With some exceptions, the mental health profession in the United States is dictated by insurance and pharmaceutical companies, focusing primarily on symptom reduction and social conformity. These goals are inadequate. The goal, as elucidated in this book, is maximizing one's human potential. Interpersonal Psychoanalytic Theory for the 21st Century: Evolving Self is written for practitioners in all areas of mental health and pedagogy, whether or not they are psychotherapists or clinicians. It is also intended for anyone interested in understanding themselves and other people. Additionally, in the spirit of Harry Stack Sullivan, developer of the theory, this volume addresses some pressing issues relevant to interpersonal theory and practice in the twenty-first century social/economic/political milieu.

This open access book investigates film studios in Britain, France, Germany and Italy between the 1930s and 1960s. During this time, studios faces unprecedented challenges including wartime disruptions, post-war fragmentation, movement of labour and the introduction of new technologies. While the study of film studios has been dominated by the centralized Hollywood ‘studio system’, the authors present new research about the often very different histories of Europe’s film studios, comparing their geographic locations, architectures and infrastructural development. They explore a number of well-known studios including Pinewood, Joinville, Babelsberg and Cinecittà, as well as lesser-known production sites such as Manchester, Victorine, post-war West German studios and Tirrenia as diverse creative and economic infrastructures. Drawing on a wealth of archival sources, photographs, films, aerial maps and visualizations, the book charts how artistic practices responded to transnational flows in film studio expertise, as studios constituted formative, materially based ‘spaces of the imagination’ that produced some of cinema’s most influential films. How studios worked in the past as dynamic, creative working environments that were profoundly influenced by their locations, architectures and personnel, is foregrounded as the authors produce new understandings of how the collaborative and material environments of studio spaces and technologies shaped film production and cultures.The open access edition of this book is available under a CC BY-NC-ND 4.0 licence on www.bloomsburycollections.com. Open access was funded by the European Research Council.

An American in Paris (1951) was a landmark film in the careers of Vincente Minnelli, Gene Kelly and Leslie Caron. A joyous celebration of George Gershwin's music, French art, the beauty of dance and the fabled City of Light, the film was heralded as a rare example of entertainment 'for mass and class alike'. Choreographed by Kelly at the height of his career, it gave new stature to the Hollywood musical, and showcased as never before the artistic ambition, technical skills, creative imagination and collaborative ethos of MGM's pioneering Arthur Freed Unit. Sue Harris draws on archival material to trace the film's development from conception to screen. Offering new insights into the design process in particular, she shows how An American in Paris established the cinematic template for a city with which Hollywood would become increasingly infatuated in the decades to follow.

This volume brings together the work of leading film scholars from the UK, France and the US who assess a dominant art form's engagement with expressions of national identity at key moments in French cinematic history, from its origins at the end of the nineteenth century, through the inter-war period, the Occupation, the post-Liberation era, and the New Wave, up to the current state of the industry. The essays go against the grain in their attempts to construct an alternative history of French cinema, whether by bringing to light overlooked films or by examining well-known, indeed even 'over-exposed' films or filmmakers in a new light. In re-evaluating the work of Georges MEliEs, Jacques Becker, Jean Renoir, Diane Kurys, FranAois Truffaut, Jean-Luc Godard and Jean-Jacques Beineix, the contributors to this volume focus on the paradoxical centrality of the marginal in constructions of national identity. In doing so, they reveal the structure of 'l'exception franAaise', in which French culture makes an exception for itself by suppressing alterity within it.This multi-faceted assessment of French visual culture and identity will be of interest to students and scholars in French studies, media and film studies, cultural studies and French history.

This volume brings together the work of leading film scholars from the UK, France and the US who assess a dominant art form's engagement with expressions of national identity at key moments in French cinematic history, from its origins at the end of the nineteenth century, through the inter-war period, the Occupation, the post-Liberation era, and the New Wave, up to the current state of the industry. The essays go against the grain in their attempts to construct an alternative history of French cinema, whether by bringing to light overlooked films or by examining well-known, indeed even 'over-exposed' films or filmmakers in a new light. In re-evaluating the work of Georges MEliEs, Jacques Becker, Jean Renoir, Diane Kurys, FranAois Truffaut, Jean-Luc Godard and Jean-Jacques Beineix, the contributors to this volume focus on the paradoxical centrality of the marginal in constructions of national identity. In doing so, they reveal the structure of 'l'exception franAaise', in which French culture makes an exception for itself by suppressing alterity within it.This multi-faceted assessment of French visual culture and identity will be of interest to students and scholars in French studies, media and film studies, cultural studies and French history.