School of Humanities

Abstract This article takes a contemporary, socio-political approach to the study of the Real Academia Espa ola (RAE) and its role in Spanish language matters. I␣ examine the Academy's contribution to current language debates and consider the language ...

... Subjects: P Language and Literature > PB Modern European Languages. Divisions: School of Humanities > Modern Languages. ePrint ID: 66047. Deposited By: Dr Darren Paffey. Deposited On: 22 Apr 2009. Last Modified: 23 Mar 2011 16:43. Associated Staff Only: edit my ePrint ...

As I have noted in earlier chapters, history has taken little notice of British film music. In the case of music in Gainsborough films, it is an utterly neglected part of cinema history. While it has been easier for film music historians to weave a narrative around a personage, this approach is invalid in terms of Gainsborough's music as there were no "great composers" about which to wax lyrical. There was something else: a communal production of music, a production line of sorts, under the aegis of Gainsborough and Gaumont-British musical director Louis Levy. The music in 1940s Gainsborough melodramas is distinct from the dominant styles and discourses that constituted British film music in the 1930s and 1940s. On the one hand, Gainsborough offered cheap and cheerful music that was seemingly in opposition to the large number of films that used prestige films scores at the time. While on the other, the melodramas offer music that is startling in its brashness and singular among music in contemporaneous British films for its lack of British restraint. This chapter will focus primarily on the melodrama cycle of the 1940s and the way that these films not only contain atypical and outlandish musical scores, but some incorporate song sequences to the point where they resemble musicals. While I realize that these films are perhaps too easily essentialized as the Gainsborough output, they are only one genre among many of the studio's output, but are, however, vessels for some extraordinary music that really deserves a degree of attention. By the 1940s, British film music was regularly conceived as a prestige item in a quality British cinema, 1 and in particular as an opposition to Hollywood's industrial modes. This was reflected by the number of concert hall composers who wrote music for British films during the 1930s and 1940s. Before Second World War, Arthur Bliss, Benjamin 40

L a version britannique de Big Brother s'est avérée être un phénomène télévisuel durable et couronné de succès. La première série fut diffusée sur Channel Four de juillet à septembre 2000. L'émission était financée par Southern Comfort, société de boissons alcoolisées. Une version de l'émission intitulée Celebrity Big Brother passa sur la même chaîne en mars 2001 tous les soirs pendant une semaine. Ce programme était cette fois-ci financé par Dubble, un confiseur qui reverse un pourcentage de ses profits aux oeuvres de charité. Une deuxième tranche de Celebrity Big Brother fut diffusée pendant une semaine en décembre 2002. La diffusion de Big Brother 2 eut lieu de mai à septembre 2001, toujours sur Channel Four et financée par la société de télécommunications BT Cellnet ; celle de Big Brother 3 débuta quant à elle le 29 mai 2002 pour s'achever en juillet de la même année. Cette dernière émission était financée par O2, une autre société de télécommunications. Tous ces programmes étaient produits par Endemol (producteur de la toute première version hollandaise de Big Brother) et Bazalgette, une société de production britannique forte d'une grande expérience en matière de « télé réalité ». Chaque programme suivait un format plus ou moins identique que je décrirai plus en détail ci-après, à la seule exception de Celebrity Big Brother où participaient un certain nombre de vedettes de la télévision-pour la plupart, il faut l'avouer, dans le besoin urgent de relancer une carrière en perte de vitesse-venues partager la maison de Big Brother pendant une semaine. Les recettes provenant de la première tranche de cette émission furent reversées à des oeuvres de bienfaisance par l'intermédiaire de « Comic Relief », une organisation caritative dont l'action principale consiste à organiser deux fois par an une nuit de l'humour à la télévision. Celles de la seconde tranche furent directement ver-sées à plusieurs oeuvres caritatives. Big Brother 1, 2 et 3 étaient diffusées six ou sept soirs par semaine en deuxième partie de soirée, en général vers 22h00. L'émission du ven

Engrenages (2005-present) translates literally to 'gearing'-referring to the grinding cogs of the criminal justice process and the hidden, often corrupt, exercise of its power: wheels within wheels. It is also an expression denoting a kind of vortex from where there is no escape, and Engrenages certainly involves a swirling narrative that deals with crime, institutional cynicism and corruption where everything is inextricably entangled and everyone implicated. Grisly crimes may be solved, but the collateral damage sustained finds the resolutions tainted with sadness and immersed in compromise. There have been other crime series, Braquo (2009) featuring Jean-Hugues Anglade, or Pigalle, la nuit (2009) which followed Engrenages on Canal Plus; but while these 'investigation' shows rival the labyrinthine plots and flawed, hopelessly compromised characters, neither has sold as successfully as Engrenages, selling to over 70 different territories worldwide. In fact, the series has become the biggest French TV series export ever; and it is these questions of trade, exportability and shifting cultural perceptions that this dossier seeks to address with responses from the industry and inside the academy. Created in 2005 by Alexandra Clert and Guy-Patrick Sainderichin, and described by Libération as 'bleakly additive', 1 the policier series portrays Paris under a pallid sky and is set in sectors of the legal institution and the grim suburban conurbations, or banlieues, encircling the French capital. It is a hyper-real world of 'dubious state prosecutors, disillusioned young lawyers, interfering politicians and underpaid and overworked police', and because 'there is no one star, the series is able to change its focus from season to season'. 2 Whereas US investigative teams solve crime in 42-minutes, disappointed maybe in the depravity of human nature, but nonetheless steadied by a strong moral compass, nothing is so assured in this hard hitting take on the French criminal justice system, the relationships between the police and the 'ministère public' and the social aspects of those relations-a long tradition in French literature. As opposed to the longform US TV series with their closure and easy resolutions, the Parisian investigations led by Laure Berthard (Caroline Proust) and her team have a different pace, a bleaker, more pessimistic

Cédric Kahn is one of the most interesting directors to have emerged in France in recent years. A striking feature of a number of his films is the central place of the car and the act of driving. In L'Ennui (1998), Roberto Succo (2001) and most strikingly Feux rouges (2004) the car acts as both a motivating narrative device and a central metaphor for the protagonists' mental state. In this essay I look at the depiction of the road trip in Feux rouges and attempt to unpack the ways in which the trip is used to trigger and represent the central protagonist's masculine identity crisis asking what this can suggest to us about contemporary discourses of masculinity and society more broadly.

The cinematic remake has long been critically dismissed as little more than evidence of the commercial might and creative poverty of Hollywood. While it would be foolish to deny the commercial imperatives which surround the remake, it is a far more complex process than these accounts would have us believe. Although it is possible to discern patterns that help us to understand why particular films get remade and why industries embrace the practice at specific junctures, there are no hard and fast rules. This article emphasizes the location of the remake within the broader landscape of adaptation, translation and rewriting, revealing the welter of images and meanings to emerge and reemerge as texts are revisited by film-makers, audiences and academics alike. Films are shown to be highly intertextual artefacts which lend themselves to reworking in a number of different ways. The remake is thus shown to be both a feature of an extensive network of cultural reproduction and an echo of the very identity of film itself.