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"Mai, Joseph"
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Jean-Pierre and Luc Dardenne
For well over a decade, Jean-Pierre and Luc Dardenne have produced highly original and ethically charged films that immerse their audiences in an intense and embodied viewing experience. Their work has consistently attracted international recognition, including the rare feat of two Palmes d'Or at Cannes._x000B__x000B_In this first book-length study of the Belgian brothers, Joseph Mai delivers sophisticated close analyses of their directorial style and explores the many philosophical issues dealt with in their films (especially the ethics of Emmanuel Levinas). Mai discusses the Dardennes' varied and searching career from its inception in the late 1970s, starting with the working-class political consciousness and lost utopias of their documentary period; passing through their transition toward fictional narrative, experimental techniques, and familial themes; and finishing with a series of in-depth and philosophically informed interpretations of the brothers' more recent work. In such highly influential films such as La promesse, Rosetta, The Son, and The Child, the brothers have recast filmmaking through what Mai calls a \"sensuous realism\"--realism capable of touching the audience with the most compelling problems and moral dilemmas of contemporary society. This volume also features an interview in which the Dardennes discuss their approach to film production and the direction of actors._x000B_
eBook
The effect of the Canada-US Free Trade Agreement on Canadian multilateral trade liberalization
In this paper show that the Canada-US Free Trade Agreement (CUSFTA) tariff preferences have triggered a decline in Canadian external tariffs, explaining a two percentage point reduction in the average tariff between 1989 and 1998. Next, we found that industries that generate the least export rent to the US firms experienced deeper tariff cuts in Canada; this result provides evidence of cooperation in trade policies between the US and Canada. Finally, we estimate the effect of the CUSFTA on the intensity of industrial lobbying for trade policy in Canada and find no relationship between preferential trade liberalization and lobbying activity. L'effet de l'Accord de libre-échange Canada-U. S. sur la libéralisation multilatérale du commerce canadien. Dans ce texte, on montre que les préférences tarifaires de l'accord de libre-échange Canada-US (ALECUS) ont déclenché un déclin dans le niveau des droits de douane externes canadiens, et expliquent une réduction de deux points de pourcentage dans le tarif moyen entre 1989 et 1998. Ensuite, on découvre que les industries qui génèrent le moins de rentes des exportations vers les États-Unis font l'expérience de réduction de tarifs plus importante au Canada. Ce résultat révèle une coopération dans les politiques commerciales entre Canada et États-Unis. Enfin, on évalue l'effet de l'ALECUS sur l'intensité du lobbying industriel à propos de la politique commerciale au Canada, et on découvre qu'il n'existe pas de relation entre la libération préférentielle du commerce et l'intensité de l'activité de lobbying.
Journal Article
Robert Guédiguian
Intervening at the crossroads of philosophy, politics, and cinema, this book argues that the career of Robert Guédiguian is the result of one of the most original and coherent projects in contemporary French cinema: to make a committed, historically-conscious cinema, in a local space, over a long period of time, but most especially with friends. The account starts with in-depth consideration of friendship and its relation to philosophy, politics, time, and space. The book chronologically traces this project as it begins in Guédiguian's hometown, the Communist-leaning Marseille. It further unfolds through the political transformations of the 1980s Left and the local activism and utopias of the 1990s, and spreads into Guédiguian's varied explorations of genre and register. Close analysis is accompanied with historical and social contextualization, but also with a consistent return to the underlying, radical and philosophically rich project.
eBook
\Un tissu de mots\: Writing Human and Animal Life in Olivia Rosenthal's \Que font les rennes après Noël\?
In Que font les rennes après Noël? Olivia Rosenthal splices an intimate autobiographical narrative together with various, at first seemingly unrelated, texts about animals. This essay explores ways in which her formal experiment unsettles conventional (anthropocentric and patriarchal) discourses and practices that have traditionally shaped the border between humans and animals. It considers some of the ethical and aesthetic implications of this commitment to writing.
Journal Article
HUMANITY'S \TRUE MORAL TEST\: SHAME, IDYLL, AND ANIMAL VULNERABILITY IN MILAN KUNDERA'S \THE UNBEARABLE LIGHTNESS OF BEING\
This essay reinterprets Kundera’s best-known novel through philosophical considerations of vulnerability and the human/animal relationship. It begins with an understanding of irony—associated with Cora Diamond’s notion of embodiment shared by humans and animals—as a counter to Cartesian mastery of nature. It turns to the denial of embodiment through shame and disgust, as theorized by Martha Nussbaum and illustrated with several characters. One main character, Tereza, stands out against a normotic backdrop of human disembodiment (which Kundera calls kitsch). Her acceptance of vulnerability and encounter with shame gradually envelop her spouse, Tomas, as well. The final section examines the novel’s closing pastoral passages, in which a thorough investigation of human and nonhuman animality takes place, leaving the reader somewhere between an extremely empathetic Tereza and a sympathetic but gently skeptical narrator. It describes the novel as a “fallen idyll” where human vulnerability and shame can be expressed and considered.
Journal Article
Living with friends
Robert Guédiguian has had an industrious and productive career lasting thirty-five years (and counting), producing, co-writing and directing nineteen full-length films, as well as a parallel career as an independent film producer with Agat Films & Cie, a company that he co-founded in the early 1990s. His work attracts a core of loyal fans, numbering approximately 200,000, who consistently turn out for every film he releases. His most successful film, Marius et Jeannette (1997), attracted over 2.5 million viewers in France, had worldwide success and can be considered a key film of its decade.⁴
And yet, Guédiguian insists, as he does
Book Chapter
Themes and variation
The 1990s were a period of great optimism for Guédiguian, but, as they came to an end, there were indications that History would not fulfil its promises so easily. At the same time, Guédiguian did not revert to the pessimism of the 1980s: he did not reject the conte de L’Estaque, nor renounce the desire to re-enchant the world. Moving forward into the 2000s, the basic project of ‘living with friends’ was the backbone of his work, and the friends still measured their project against an ideal of History in mutation. They did not always come out on top, but
Book Chapter
Conclusion
Throughout this book, I have treated each of Guédiguian’s films as a coherent work with its own thematic and narrative specificity. At the same time, it has become clear, and only more so as time progresses, that Guédiguian has been pursuing a continuous project, a conscious collaboration with a group of friends over the past thirtyfive years. In conclusion, I would like to step away from individual works and take stock of Guédiguian’s career as a holistic practice, as a highly original and remarkably durable project following its own inner logic, one that gives his cinema its particular shape. There
Book Chapter
Crossing every barrier
Over the course of the four films of the 1980s, we witness Guédiguian’s growing despair over the vicissitudes of communism and other forms of leftist militancy. But by exploring so deeply the historical impasse, Guédiguian seems to have performed a kind of political exorcism, and his films of the 1990s shift radically in tone. Looking back at the period in 2011, he would still use the word ‘communism’ to describe his values, but he redefines the term, taking away its capital ‘C’ and liberating it from both its revolutionary and Soviet heritage:
Le mot ‘communiste’, je souffre énormément de le
Book Chapter