Reality Effects: The Historical Novel and the Crisis of Fictionality in the First Decade of the Twenty-first Century

This chapter looks at the assumptions made about the 'fictionality' of prose fiction implicit in the contemporary historical novel. In particular it argues that the recent historical novel has developed a set of 'reality effects' which appear to look back to modernist writing, but in fact work to secure a disguised referentiality in the face of a loss of faith in the fictional.

The Historical Novel of Contemporary Capitalism

Special dossier on ‘La fiction politique’, eds. Emily Apter and Emmanuel Bouju.

‘The Party’s Over’: Critical Junctures, Crises and the Politics of Housing Policy

The key argument set out in this article is that historical and comparative forms of investigation are necessary if we are to better understand the ambitions and scope of contemporary housing interventions. To demonstrate the veracity of our claim we have set out an analysis of UK housing polices enacted in the mid 1970s as a basis for comparison with those pursued forty years later. The article begins with a critical summary of some of the methodological approaches adopted by researchers used to interpret housing policy. In the main section we present our critical analysis of housing policy reforms (implemented by the Labour government between 1974 and 1979) noting both their achievements and limitations. In the concluding section, we use our interpretation of this period as a basis to judge contemporary housing policy and reflect on the methodological issues that arise from our analysis.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.