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Iehca Summer University On Food And Drink 2018 Report, Diarmuid Cawley, Sylvia M. Grove, Kaian Lam
Iehca Summer University On Food And Drink 2018 Report, Diarmuid Cawley, Sylvia M. Grove, Kaian Lam
Reports
The Institut Européen d’Histoire et des Cultures de l’Alimentation (IEHCA, European Institute for the History and Cultures of Food) was established in 2001 by the French Ministry of National Education, Higher Education and Research in partnership with the Centre-Val de Loire region and the University of Tours. As a scientific and cultural development agency, it seeks to encourage university research and teaching in connection with “food cultures and heritages” in the humanities and social sciences. The university serves as a key platform for the discussion of new research in Food & Drink Studies. In 2018, 20 researchers from a wide …
Dans La Serre: Framing The Greenhouse In Le Jour Se Lève (1939) And La Règle Du Jeu (1939), Barry Nevin
Dans La Serre: Framing The Greenhouse In Le Jour Se Lève (1939) And La Règle Du Jeu (1939), Barry Nevin
Articles
Beyond the year of their production, their notoriously foreboding references to contemporary national and international politics, and their shared status as canonised classics of French cinema, Marcel Carné’s Le Jour se lève (1939) and Jean Renoir’s La Règle du jeu (1939) both portray the romantic union of two parties within a greenhouse. This article aims to elaborate on these images in two central ways: first, it theorises glass in cinema with reference to the writings of André Bazin and Gilles Deleuze; second, it situates Carné and Renoir’s greenhouses within their respective dramatic, aesthetic and political contexts. In both cases, the …
‘Prochainement: Arizona Jim Contre Cagoulard’: Framing The Future Of The Front Populaire In Jean Renoir’S Le Crime De Monsieur Lange (1936), Barry Nevin
Articles
Gilles Deleuze remarks that Jean Renoir’s entire œuvre displays the most fundamental operation of time, constantly holding the embodied past and the potential creation of a genuinely new future in tension. Although he fails to address Le Crime de Monsieur Lange, the film that cemented Renoir’s association with the Front populaire, Deleuze tantalisingly remarks that this dialectic stems partly from Renoir’s attitude towards the Front populaire. How Deleuze’s framework allows spectators to interpret this film as an expression of Renoir’s own ambivalence regarding the future of the Front populaire has yet to be sufficiently addressed. Drawing on Ida, …