Poetics of the uncanny : Jean Painlevé, documentary display, and documentary theory

In Grierson's theory of documentary, films of the so-called cinema of attractions were relegated to the position of 'lower forms' in contrast to his description of documentary as a form of civic pedagogy. The modes and forms of a cinema of attractions, which form what is here referred to as the practice of documentary display, did not disappear with the ascendency of Griersonian documentary; instead such approaches continued to inform avant-garde film. This paper examines the connections between nonfiction documentations and avant-garde film- and the resultant implications of this meeting for documentary film theory- through an analysis of the film and critical writings of Jean Painlevé (1902-1989). Painlevé, whom, according to Bazin, 'occupies a singular and privileged place in French cinema', informed his understandings of documentary through contact with, among others, Buñuel, Man Ray, Bataille, Eisenstein, and Grierson. The analysis of Painlevé's surrealist documentary display and his extensive body of critical literature on documentary foregrounds overlooked documentary works and constructs, or resurrects, ignored perspectives on documentary film as a way of extending and revising documentary film theory and the documentary canon.

It's not only rock and roll: rockumentary, direct cinema and performative display

The documentary form commonly referred to as rockumentary has become, since its inception in the early 1960s, a staple of American direct cinema. In keeping with its associations with observational direct cinema, rockumentary emphasizes showing over telling; that is, rockumentary privileges the visual capacities of documentary over patterns of exposition. While the ‘documentary display’ of rockumentary is comparable to certain features of  the early ‘cinema of attractions’ it exceeds such features in its focus on  performance. Typically, an emphasis within documentary theory on unmediated and unreconstructed access to the real as the basis of documentary film has not admitted a place for notions of performance before the camera. Rockumentary, with its relentless foregrounding of the performing body and the performance of musicians, revises this  understanding. This essay examines rockumentary within the context of direct cinema as a mode centred on a documentary performative display as it operates within selected works from the 1960s to the present. The film theorist Brian Winston has claimed that ‘[d]irect cinema made the rock performance/tour movie into the most popular and commercially viable documentary form thus far.’ The inverse of this assessment may be closer to the mark: the rockumentary turned direct cinema into a commercially and widely available form, one which the rockumentary has at times returned to and superseded in its scopic attention to performative display.

Selection, exclusion and assimilation: the project lambert of 1931 on the reform of French immigration policy

The unemployment crisis of 1926-7 focused attention onto the question of immigration. Historians of this period have generally focused on the crisis of public policy and popular antipathies towards foreigners; more recently historians have become attuned to voices of racism. Less attention has been paid to attempts to redress the policy weaknesses through a new legislative regime on immigration. This paper reviews one such proposal, made by Charles Lambert, a deputy from the Rhone, in 1931. Instrumental in a revision of the naturalization law in 1927 to encourage the assimilation of foreigners through the acquisition of French citizenship, Lambert proposed a comprehensive statute on immigration to select “desirable” foreigners and exclude the “undesirables” to promote the assimilation of the “better” elements. The paper argues that his rationale betrays a profound fear of mounting French weakness in the face of economic and demographic decline, and grave anxieties for the future health of the French nation.

Of personalities and personae: a French victory for film producers and authors

The international medium of film poses many challenges for authors and copyright owners. So do the practices of the advertising industry. Each jurisdiction approaches these challenges differently. In a recent French decision three issues that are of interest in Australia were discussed – the copyright status of a literary or dramatic character, the use of such a persona in character merchandising, and the moral right of film directors to control the exploitation of the persona. This article examines the 2004 decision of the Paris Court of Appeal in the matter of the film “The Fifth Element”. It compares the protection offered to author and copyright owner under French law with the protection offered by Australian legislation and common law.

Men, masculinities and symbolic violence in recent Indonesian cinema

This article investigates images of men and masculinities in post-New Order Indonesian popular culture, focusing on a recent and path-breaking Indonesian film, Kuldesak. The theoretical sociology of Pierre Bourdieu is utilised to suggest that if Indonesian women are to be assisted in their efforts to resist the gender inequality of Indonesia's patriarchal gender regime, then the social gendering of men and masculinity must also be understood.

Human resource practices, unionization and the organizational efficiency of French industry

Organizational performance improves through several channels, including changes in efficiency, innovation and technological change. Most of the extant research has focused on overall performance, often measured by partial measures of productivity, with little attention given to the components of performance. The aim of this paper is to analyze the impact of HR practices and unionization on one important channel - organization efficiency - as measured by technical and scale efficiency. Using French industry survey data, the paper shows that HR practices do influence efficiency, but this is moderated by the existence of unions. The results show a rather complex set of associations. We find robust results that show that in France, HR practices have a positive effect on scale efficiency but this effect is dampened in the presence of unions. On their own, HRpractices have no effect on technical efficiency. However, some of the results suggest that HR practices can exert a positive influence when combined with unions.

Exchange rate exposure, foreign currency derivatives and the introduction of the euro: French evidence

We investigate the impact of the introduction of the Euro on exchange rate exposures for French corporations and examine the corporate use of foreign currency derivatives to hedge exchange rate exposure post-Euro. Our findings indicate that the introduction of the Euro is associated with both a reduction in the number of firms that have significant exchange rate exposure and the absolute size of exposure. Consistent with these reduced exposures, French firms use foreign currency derivatives less intensively. Furthermore, the use of foreign currency derivatives is found to be associated with lower exchange rate exposure but there is insufficient evidence that these instruments are more effective in the post-Euro environment.

Anglo-Indians in Hollywood, Bollywood and arthouse cinema

Apart from a few disparaging remarks about offensive stereotypes by Anglo-Indian writers and politicians such as Gloria Jean Moore, Frank Anthony and Gillian Hart, critics have paid very little attention to the representation of “mixed-race” Anglo-Indians in the cinema. Drawing on screen theory and recent theories of cinema spectatorship, this essay provides a comparative analysis of how Hollywood, Bollywood and arthouse films represent Anglo-Indians. More specifically, it analyses three paradigmatic films: Bhowani Junction (1956), Julie (1975), and 36 Chowringhee Lane (1981). Combining formal analysis of narrative structure, mise-en-scegravene and genre with historical analysis, the paper examines the ideological work performed by these texts, which use Anglo-Indians to dramatise specific political conflicts in India such as those generated by the British partition of India in 1947 and the more recent issue of globalisation.

`He hath the French pox` : stigma, social value and social exclusion

Goods and resources are finite, and social forces heavily pattern their distribution. One of the principal mechanisms for shaping the distribution of resources is by regulating entitlement to community membership itself. By restricting groups' membership of community, so access to social goods and resources diminishes, which in turn has a negative impact on the health and wellbeing of the excluded groups. It is argued here that community membership is determined on the basis of the perceived social value of groups and individuals and stigmatisation is the marking of individuals and groups who are 'unworthy' of social investment. Using the notion of reciprocity we show how groups may be stigmatised and socially excluded as a mechanism for protecting limited social resources from exploitation. This perspective provides an empirically testable framework for the understanding of stigma and social exclusion that goes beyond the largely descriptive work that currently populates the field. We illustrate the process of stigmatisation and social exclusion and discuss how this suggests new styles of intervention, as well as new directions for research.